CATALOGUE 


/ 7 


4 


OF  THE 


PAINTINGS,  STATUARY  IN  MARBLE, 

CASTS  IN  PLASTER,  BOOKS,  PRINTS,  ETC. 


THE  PROPERTY  OF  THE 


PENNSYLVANIA  ACADEMY 


OF  THE 


FINE  ARTS, 

PHILADELPHIA. 


1 8 6 4. 


PHILADELPHIA: 

COLLINS,  PRINTER,  705  JAYNE  STREET. 

1864. 


* 


OFFICERS  OF  THE  PENNSYLVANIA  ACADEMY 


PRESIDENT. 

CALEB  COPE. 


DIRECTORS 

Jas.  R.  Lambdin, 

Geo.  S.  Pepper, 

Samuel  Welsh, 

M.  W.  Baldwin, 

Joseph  Harrison,  Jr., 

Franklin  Peale,  \ 


Wm.  Struthers, 

A.  May  Stevenson, 
John  T.  Lewis, 

John  Sartain, 
James  L.  C lag  horn, 
George  Whitney. 


John  T.  Lewis,  Recording  Secretary. 


John  Sartain,  Corresponding  Secretary. 


Wm.  Struthers,  Treasurer . 


COMMITTEE  ON  ACADEMY  PROPERTY  FOR  1864-’65. 

Franklin  Peale, 

William  Struthers, 

John  Sartain. 


Joseph  John,  Curator. 


Clementina  G.  John,  Janitress. 


Jonathan  Miller,  Messenger  and  Picture  Hanger . 


ACADEMICIANS. 


Bailly,  J.  A. 

Moran,  Thomas 

Bensell,  George  F. 

Neagle,  John 

Broome,  Isaac 

Richards,  Wm.  T. 

Brown,  J.  Henry 

Rothermel,  Peter  F. 

Conarroe,  Geo.  W. 

Sartain,  John 

Furness,  Jr.,  W.  H. 

Sartain,  Samuel 

Hamilton,  James 

Schussele,  Christian 

Lambdin,  George  C. 

Smith,  Russell 

Lewis,  Edmund  D. 

Sully,  Thomas 

Mason,  W.  Sanford 

Waugh,  Samuel  B. 

Moran,  Edward 

Winner,  W.  E. 

ASSOCIATE 

MEMBERS, 

From  among  whom  two  additional  Academicians  are  chosen  annually. 

Bispham,  II.  C. 

Macneir,  A.  E. 

Blauvelt,  Ch.  F. 

Marchant,  E.  D. 

Boutelle,  D.  W.  C. 

Moran,  Peter 

Cresson,  W.  E. 

Otter,  Thomas  P. 

Downing,  S.  Boardman 

Tettit,  George  W. 

Fennimore,  Thomas  J. 

Reed,  R.  IIeber 

Ferris,  Stephen  J. 

Richards,  F.  De  Berg 

Fowler,  Trevor  T. 

Richards,  T.  W. 

Fussell,  Ciias.  L. 

Roberts,  Howard 

IIarnisch,  Carl 

Rockey,  A.  B. 

Helmick,  Howard 

Smith,  T.  Henry 

Hewitt,  William  K. 

Street,  Robert 

Holmes,  George  W. 

Weber,  Paul 

Howell,  J.  B. 

Wilcox,  William  II. 

John,  Joseph 

Williams,  Isaac  L. 

Jones,  Wm.  F. 

Wilson,  Jeremy 

Knight,  Daniel  R. 

Wood,  Geo.  B , Jr. 

Logue,  J.  J. 

Wylie,  Robert. 

COUNCIL  OF  ACADEMICIANS. 


r C.  Schussele,  President. 
Com.  on  j J.  Hamilton, 

Exhibition.  1 Trios.  Moran, 

L Geo.  F.  Bensell. 


P.  F.  Roteiermel, 

J.  Henry  Brown, 
Samuel  Sartain,  Sec. 


Com.  on 
Instruction. 


HONORARY  MEMBERS 


Achenbach,  Andreas,  Dusseldorf. 
Baker,  Geo.  A.,  New  York. 
Bonheur,  Bosa,  Paris. 

Bossuet,  F.,  Brussels. 

Boutelle,  D.  W.  C.,  Bethlehem. 
Brown,  Henry  K.,  New  York. 
Butterfield,  Wm.,  London. 

Church,  Frederick  E.,  New  York. 
Cope,  Ciias.  W.,  R.  A.,  London. 
Cornelius,  H.,  Berlin. 

Cousins,  Samuel,  R.  A.,  London. 

* Crawford,  Thos.  G.,  Rome. 
Cropsey,  J.  F.,  New  York. 
Cummings,  T.  S.,  New  York. 
*Delaroche,  Paul,  Paris. 

Doo,  Geo.  T.,  R.  A.,  London. 
Durand,  Asher  B.,  New  York. 
*Dyce,  Wm.,  London. 

Edmonds,  F.  W.,  New  York. 

Elliott,  Charles,  New  York. 
*Fielding,  Copley,  London. 

Frith,  Wm.  Powell,  R.  A.,  London. 
Gallait,  Louis,  Brussels. 


Gray,  H.  Peters,  New  York. 

Hart,  Joel  T.,  Florence. 

Huntingdon,  Daniel,  New  York. 
Kensett,  J.  F , New  York. 

Landseer,  Sir  Edwin,  R.  A.,  London. 
Leighton,  F.,  London. 

Leutze,  Emanuel,  New  York. 
Maclise,  Daniel,  R.  A.,  London. 
May,  Edward  II.,  Paris. 

Mount,  W.  S.,  New  York. 

*Mulready,  W.,  R.  A.,  London. 
Palmer,  E.  D.,  Albany. 

Powell,  W.  II.,  New  York. 

Powers,  Hiram,  Florence. 

Rinaldi,  Rinaldo,  Rome. 

Roberts,  David,  R.  A.,  London. 
Ruskin,  John,  London. 

Stanfield,  Clarkson,  R.  A.,  London. 
Stearns,  J.  B.,  New  York. 
Steinhauser,  Carl,  Rome. 

Terry,  Luther,  Rome. 

*Vernet,  Horace,  Paris. 

W ittkamp,  J.  B.,  Antwerp. 


Sir  Charles  Eastlake,  President  Royal  Academy,  London. 

John  P.  Knight,  Secretary  Royal  Academy,  London. 

F.  Y.  Hurlstone,  Pres.  Soc’y  of  British  Artists,  London. 

T.  Roberts,  Sec.  Soc’y  of  British  Artists,  London. 

Frederick  Tayler,  Pres.  Soc’y  of  Painters  in  Water  Color,  London. 
Joseph  J.  Jenkins,  Sec.  Soc’y  of  Painters  in  Water  Color,  London. 
Henry  Warren,  Pres.  Institute  of  Painters  in  Water  Color,  London. 
James  Fahey,  Sec.  Institute  of  Painters  in  Water  Color,  London. 

The  Marquis  of  Westminster,  Pres.  British  Institution,  London. 
George  Nicol,  Sec.  British  Institution,  London. 

W.  Tite,  M.  P.  Pres.  Institute  of  British  Architects,  London. 

F.  C.  Penrose,  Perpetual  Sec.  Institute  of  British  Architects,  London. 


* Deceased. 


4 


George  Godwin,  lion.  Sec.  Art  Union  of  London. 

Lewis  Pocock,  Hon.  Sec.  Art  Union  of  London. 

Henry  Cole,  Sec.  and  Gen.  Sup.  Science  and  Art  Dep’t  S.  Kens.  Museum,  London. 
Sir  J.  Watson  Gordon,  R.  A.,  Pres.  Royal  Scottish  Academy,  Edinburgh. 

D.  0.  Hill,  Sec.  Royal  Scottish  Academy,  Edinburgh. 

J.  A.  Bell,  Sec.  Assoc,  for  the  Promotion  of  the  Fine  Arts  in  Scotland,  Edinburgh 
S.  Catterson  Smith,  Pres.  Royal  Hibernian  Academy,  Dublin. 

Rev.  C.  Graves,  D.  I).,  Sec.  Royal  Hibernian  Academy,  Dublin. 

M.  le  Comte  de  Nieuwerkerke,  Director  Gen.  of  the  Imp.  Museums,  etc.,  Paris. 
M.  Beule,  Perpetual  Sec.  Academy  of  the  Fine  Arts,  Paris. 

Albert  Lenoir,  Perpetual  Pres,  and  Sec.  Imperial  Art  School,  Paris. 

Prof.  Eugene  Simonis-Orban,  Director  Royal  Academy,  Brussels. 

A.  Henne,  Sec.  Royal  Academy,  Brussels. 

Nicaise  Dekeyser,  Director  Royal  Academy,  Antwerp. 

Gustave  Kempeneers,  Sec.  Royal  Academy,  Antwerp. 

F.  Koelmann,  Director  Academy  of  the  Fine  Arts,  The  Hague. 

G.  Keller,  Sec.  Academy  of  the  Fine  Arts,  The  Hague. 

H.  F.  C.  ten  Kate,  Pres.  Soc’y  Arti  et  Amicitiae,  Amsterdam. 

H.  J.  Scholten,  Sec.  Soc’y  Arti  et  Amicitiae,  Amsterdam. 

Prof.  Edward  Bendeman,  Director  Academy  of  the  Fine  Arts,  Dusseldorf. 

Prof.  Rudolf  Wiegmann,  Sec.  Academy  of  the  Fine  Arts,  Dusseldorf. 

Prof.  Charles  Dage,  Director  Royal  Academy,  Berlin. 

0.  F.  Gruppe,  Sec.  Royal  Academy,  Berlin 

Baron  d’Olfers,  Director-General  of  Art  Museums,  Berlin. 

Prof.  Julius  Schnorr,  Director  Royal  Academy,  Dresden. 

Prof.  Julius  Hubner,  Sec.  Royal  Academy,  Dresden. 

Wilhelm  von  Kaulbach,  Pres.  Royal  Academy,  Munich. 

Moritz  Carriere,  Sec.  Royal  Academy,  Munich. 

Commendatore  Luigi  Ferrari,  Pres.  Academy  of  the  Fine  Arts,  Venice. 
Cavaliere  Giacomo  Benetti,  Sec.  Academy  of  the  Fine  Arts,  Venice. 

Prof  Aristodemo  Costoli,  Pres.  Academy  of  the  Fine  Arts,  Florence. 

Cavaliere  Niccolo  Antinori,  Sec.  Academy  of  the  Fine  Arts,  Florence. 
Commendatore  Antonio  Sarti,  Pres.  Academy  of  St.  Luke,  Rome. 

Cavaliere  Salvatore  Betti,  Perpetual  Sec.  Academy  of  St.  Luke,  Rome. 
Cavaliere  Cesare  Dalbono,  Director  Institute  of  the  Fine  Arts,  Naples. 

Gaetano  Sabatino,  Sec.  Institute  of  the  Fine  Arts,  Naples. 


CATALOGUE 


NORTH  GALLERY. 

PAINTINGS. 


NO. 

SUBJECTS. 

ARTISTS. 

PROPRIETOR. 

1 

View  near  Hartford,  Conn.,  . 

Doughty. 

Academy. 

2 

Ganymede,  Jove’s  Cup  Bearer, 

Guido. 

do. 

3 

Portrait  of  a Youth, 

Unknown. 

do. 

4 

Portrait  of  Angelica  Kauffman, 

Ang.  Kauffman. 

do. 

5 

Edward  L.  Carey,  .... 

Thos.  Sully. 

do. 

6 

Farnese  Hercules,  .... 

C.  B.  Leslie. 

do. 

T 

Judith  and  Holofernes,  . 

E.  Jacobs. 

do. 

“Then  Judith,  standing  by  his  bed,  said  in  her  heart,  0 Lord  God  of  all  power, 
look  at  this  present  upon  the  work  of  mine  hands  for  the  exaltation  of  Jerusalem. 
For  now  is  the  time  to  help  thine  inheritance,  and  to  execute  mine  enterprises,  to  the 
destruction  of  the  enemies  which  are  risen  against  us. 

“ Then  she  came  to  the  pillar  of  the  bed,  which  was  at  Holofernes’  head,  and  took 
down  his  falchion  from  thence,  and  approached  to  his  bed,  and  took  hold  of  the  hair 
of  his  head  and  said,  Strengthen  me,  0 Lord  God  of  Israel,  this  day. 

“And  she  smote  twice  upon  his  neck  with  all  her  might,  and  she  took  away  his 
head  from  him.” — Book  of  Judith , chap,  xiii.,  v.  4 — 8. 


8,  Dead  Man  restored  to  Life  by  touch-  Wash.  Allston. 
ing  the  bones  of  the  Prophet  Elisha, 

“ And  the  bands  of  the  Moabites  in- 
vaded the  land  at  the  coming  in  of 
the  year.  And  it  came  to  pass,  as 
they  were  burying  a man,  that,  be- 
hold, they  spied  a band  of  men;  and 
they  cast  the  man  into  the  sepulchre 
of  Elisha  : and  when  the  man  was  let 
I down,  and  touched  the  bones  of  Eli- 
| sha,  he  revived.” — 2 Kings , xiii.  20. 

9 Death  on  the  Pale  Horse  . . Benj.  West. 


Academy. 


do. 


Revelations , Chapter  VI. — 1.  And  I saw  when  the  Lamb  opened  one  of  the  Seals; 
and  I heard,  as  it  were  the  noise  of  thunder,  one  of  the  four  Beasts  saying,  Come 
and  see. 


4 


2.  And  I saw,  and  behold  a White  Horse;  and  he  that  sat  on  him  had  a bow;  and 
a crown  was  given  unto  him ; and  he  went  forth  conquering,  and  to  conquer. 

3.  And  when  he  had  opened  the  second  seal,  I heard  the  second  Beast  say,  Come 
and  see. 

4.  And  there  went  out  another  horse  that  was  Bed  ; and  power  was  given  to  him 
that  sat  thereon  to  take  peace  from  the  earth,  and  that  they  should  kill  one  another  ; 
and  there  was  given  unto  him  a great  sword. 

5.  And  when  he  had  opened  the  third  Seal,  I heard  the  third  Beast  say,  Come  and 
see.  And  I beheld,  and  lo,  a Black  Horse ; and  he  that  sat  on  him  had  a pair  of 
balances  in  his  hand. 

6.  And  I heard  a voice  in  the  midst  of  the  four  Beasts  say,  A measure  of  wheat  for 
a penny,  and  three  measures  of  barley  for  a penny ; and  see  thou  hurt  not  the  oil  and 
the  wine. 

t.  And  when  he  had  opened  the  fourth  Seal,  I heard  the  voice  of  the  fourth  Beast 
say,  Come  and  see. 

8.  And  I looked,  and  behold  a Pale  Horse ; and  his  name  that  sat  on  him  wras 
Death,  and  Hell  followed  with  him  : And  power  was  given  unto  them  over  the  fourth 
part  of  the  earth,  to  kill  with  sword,  and  with  hunger,  and  with  death,  and  with  the 
beasts  of  the  earth. 

y.  And  when  he  had  opened  the  fifth  Seal,  I saw  under  the  altar  the  souls  of  them 
that  were  slain  for  the  word  of  God,  and  for  the  testimony  which  they  held  : 

10.  And  they  cried  with  a loud  voice,  saying,  How  long,  0 Lord,  holy  and  true, 
dost  thou  not  judge  and  avenge  our  blood  on  them  that  dwell  on  the  earth  ? 

11.  And  white  robes  were  given  unto  every  one  of  them;  and  it  was  said  unto  them, 
that  they  should  rest  yet  for  a little  season,  until  their  fellow  servants  also  and  their 
brethren,  that  should  be  killed  as  they  were,  should  be  fulfilled. 

Description  of  the  Picture. — Death  on  the  Pale  Horse  (Rev.,  ch.  vi.  ver.  8)  is  re- 
presented destroying  Man  and  all  living  things,  in  every  direction.  The  Powers  of 
llell  follow  on  the  clouds  behind  him.  An  image  of  the  devouring  mortality  is  seen 
in  the  sudden  death  of  a young  mother  and  her  infant  son.  She  is  supported  by  her 
husband,  who  at  the  same  time  extends  his  arms,  as  it  were,  to  stop  the  galloping  of 
the  Pale  Horse.  Her  daughter,  a beautiful  child,  in  a pathetic  attitude,  endeavors  to 
succor  her.  Everything  shows  this  to  be  a family  of  rank.  The  destruction  by  wild 
beasts,  is  represented  by  a lion  and  lioness  rushing  upon  a tumultuous  group  of  men 
on  horseback  and  on  foot,  who  are  endeavoring,  in  turn,  to  destroy  their  assailants. 
A wild  bull  is  seen  attacking  the  crowd  behind,  and  tossing  a youth  in  the  air.  The 
furions  animal  is  himself  assailed  by  the  dogs.  In  the  clouds,  an  eagle  and  heron  are 
engaged  in  mortal  combat ; and  on  the  foreground,  a dove  lamenting  over  its  dead 
mate.  Near  the  bull,  but  somewhat  further  in  the  picture,  a young  man  is  struck  dead 
by  lightning,  on  the  supposed  day  of  his  intended  marriage  ; his  brother  is  supporting 
his  lifeless  body,  and  a young  female,  his  intended  bride,  gazing  wildly  on  him.  A 
number  of  figures  are  seen  in  confusion,  terror,  and  astonishmeut  at  this  awful 
visitation.  Over  their  heads  the  firmament  is  rent;  the  clouds  are  broken  ; the  thun- 
ders and  lightnings  let  loose,  and  the  heavens  rolled  together  “as  a scroll. ” (Rev., 
ch.  vi.  ver.  14.)  The  destruction  by  Famine  is  represented  by  a sallow,  emaciated 
man,  with  a wrinkled  visage  and  hollow  eyes,  on  his  knees,  endeavoring  to  dig  up  some 
wild  roots  with  his  long  nails,  to  appease  the  ravenous  cravings  of  nature.  His  empty 


5 


cup  lies  beside  him.  Close  to  this,  the  destruction  by  Pestilence  is  figured  by  a woman 
with  an  expression  of  pain  and  malady  in  her  wan  countenance  and  crouching  attitude. 
The  destruction  by  War  is  represented  by  a figure  in  helmet  and  armor,  mounted  on  a 
red  horse,  with  his  sword  raised  in  the  act  of  charging,  and  the  clouds  of  battle  rising 
before  him.  Near  this  scourge  of  the  human  race,  a man  mounted  on  a black  horse, 
with  the  balances  is  seen.  (Rev.,  ch.  vi.  ver.  5.)  Christ,  crowned,  with  a bow  in  one 
hand  and  a quiver  at  his  shoulder,  mounted  on  a white  horse,  is  going  forth  “ conquer- 
ing and  to  conquer.”  (Rev.,  ch.  vi.  ver.  2.)  On  the  foreground  beneath,  the  serpent 
lies  with  his  head  bruised,  in  fulfilment  of  the  sacred  word.  The  eyes  of  the  Redeemer 
are  fixed  upon  the  souls  of  the  martyrs,  who  are  ascending  in  glory  to  heaven.  (Rev., 
ch.  vi.  ver.  9.)  This  mysterious  representation,  which  forms  so  beautiful  a part  of  the 
picture,  is  introduced  here  as  another  emblem  of  the  final  accomplishment  of  the 
Christian  dispensation  at  the  last  day.  In  the  background,  on  this  side  of  the  picture, 
a Roman  army  appears  on  its  march,  loaded  with  the  golden  spoils  of  the  Temple  of 
Jerusalem,  and  driving  along  the  Hebrew  captives.  On  the  still  more  remote  sea-coast, 
a Christian  fleet  is  seen,  and  the  landing  of  the  Crusaders  to  recapture  the  Holy  City. 

The  general  effect  proposed  to  be  excited  by  this  picture  is  the  terrible  sublime  and 
its  various  modifications,  until  lost  in  the  opposite  extremes  of  pity  and  horror — a sen- 
timent which  painting  has  so  seldom  attempted  to  awaken,  that  a particular  description 
of  the  subject  will  probably  be  acceptable  to  the  public. 

In  poetry,  the  same  effect  is  produced  by  a few  abrupt  and  rapid  gleanings  of  de- 
scription, touching,  as  it  were,  with  fire,  the  features  and  edges  of  a general  mass  of 
awful  obscurity ; but  in  painting,  such  indistinctness  would  be  a defect,  and  imply  that 
the  artist  wanted  the  power  to  portray  the  conceptions  of  his  fancy.  Mr.  West  was 
of  opinion  that,  to  delineate  a physical  form,  which,  in  its  moral  impression,  would 
approximate  to  that  of  the  visionary  Death  of  Milton,  it  was  necessary  to  endow  it,  if 
possible,  with  the  appearance  of  superhuman  strength  and  energy  : he  has,  therefore, 
exerted  the  utmost  force  and  perspicuity  of  his  pencil  on  the  central  figure.  He  has 
depicted  the  King  of  terrors  with  the  physiognomy  of  the  dead  in  a charnel-house, 
but  animated  almost  to  ignition  with  inextinguishable  rage — placed  on  his  head  the 
kingly  crown,  and  clothed  the  length  of  his  limbs  with  a spacious  robe  of  funereal 
sable.  His  uplifted  right  hand  holds  no  sceptre,  but  is  entwined  with  the  Serpent, 
who  first  brought  death  into  the  world,  and  he  launches  his  darts  from  both  hands  in 
all  directions  with  a merciless  impartiality.  His  horse  rushes  forward  with  the  uni- 
versal wildness  of  a tempestuous  element,  breathing  livid  pestilence,  and  rearing  and 
trampling  with  the  vehemence  of  unbridled  fury.  Behind  him  is  seen  an  insidious 
demon  bearing  the  torch  of  Discord,  with  a monstrous  progeny  of  the  reptile  World — 

“ All  prodigious  things, 

Abominable,  unutterable,  and  worse 

Than  fables  yet  have  feigned,  or  fear  conceiv’d, 

Gorgons,  and  Hydras,  and  Chimseras  dire” — 

the  Ministers  of  Hell,  who  had  “power  given  to  them  over  the  fourth  part  of  the 
earth,  to  kill  with  the  sword,  and  with  hunger,  and  with  disease,  and  with  the  beasts 
of  the  earth.” 

The  next  character  on  the  canvas,  in  point  of  consequence,  is  the  Rider  on  the 
White  Horse.  As  he  is  supposed  to  represent  the  Gospel,  it  was  requisite  that  he 
should  be  invested  with  those  exterior  indications  of  purity,  excellence,  and  dignity, 
which  are  associated  in  our  minds  with  the  name  and  office  of  the  Messiah.  But  it 


6 


was  not  the  Saviour,  healing  and  comforting  the  afflicted,  or  “the  meek  and  lowly 
Jesus,”  bearing  with  resignation  the  scorn  and  hatred  of  the  scoffing  multitude,  that 
was  to  be  represented — it  was  the  King  of  kings,  going  forth  “conquering,  and  to 
conquer,”  to  bruise  the  head  of  the  Serpent,  and  finally  to  put  all  things  under  his 
feet,  lie  is,  therefore,  painted  with  a solemn  countenance,  expressive  of  a mind  filled 
with  the  thoughts  of  a great  enterprise;  and  he  advances  onward  in  his  sublime  career 
with  that  serene  majesty  in  which  Divine  Providence  continues,  through  the  storms 
and  commotions  of  the  temporal  world,  to  execute  its  eternal  purposes.  He  is  armed 
with  a bow  and  arrows,  the  force  and  arguments  of  Truth,  and  leaves  behind  him,  as 
passing  vapor,  all  those  terrible  tumults  and  phantoms  which  make  up  the  auxiliaries 
and  retinue  of  Death.  At  the  first  view,  he  seems  to  be  only  a secondary  character ; 
but  on  considering  the  business  of  the  scene,  it  will  be  obvious  that  he  is  the  Great 
Leader,  and  that  all  the  others  but  follow  in  his  train,  and  carry  into  effect  the  inferior 
objects  of  his  heavenly  mission,  as  he  goes  toward  that  glorious  region  in  which  appear 
“the  souls  of  them  that  were  slain  for  the  word  of  God,  and  for  the  testimony  which 
they  held.” 

The  third  of  the  apocalyptical  characters  is  the  Rider  on  the  Red  Horse.  Mr. 
West  has  represented  him  simply  as  a warrior  armed  with  “ the  great  sword.”  He  is 
advancing  in  the  same  direction  as  the  Messiah,  thereby  intimating  that  those  wars 
which  have  accompanied  the  progress  of  the  Christian  religion,  and  of  which  he  is  the 
type  and  emblem,  are  a part  of  the  divine  scheme  for  effectually  diffusing  it  throughout 
the  whole  earth.  It  will  be  observed,  that  the  horse  in  this  instance  is  caparisoned  as 
a war  horse ; but  those  of  Death  aud  the  Messiah  are  without  reins,  being  guided 
only  by  the  will  of  their  riders.  The  prophetic  vista  beyond  this  character  shows,  in 
one  division,  the  Romans  under  Titus  returning  with  the  spoils  of  Jerusalem,  and  in 
the  other,  the  Crusaders  contending  with  Saracens. 

Behind  the  Messiah  and  the  Warrior,  the  Rider  on  the  Black  Horse  is  seen 
coming  forward.  He  is  represented  with  the  steady  countenance  of  a man  scrupulous 
in  his  estimate  of  things;  stern  in  his  decisions,  and  likely  to  require  the  execution  of 
his  adjudications  with  the  unrelenting  solemnity  of  a terrible  judge.  He  bears  those 
balances  in  his  hands  in  which  mankind  are  “ weighed  and  found  wanting  ;”  and  Pesti- 
lence and  Famine  are  seen  before  him  in  the  form  of  a wretched  woman  and  an  emaciated 
man,  absorbed  in  the  feelings  of  their  own  particular  misery.  He  follows  the  two  pre- 
ceding characters,  and  is  supposed  to  typify  the  skeptical  philosophy  which  affects  to 
estimate  Christianity  by  the  temporary  circumstances  that  have  arisen  in  the  course  of 
its  progress,  while  it  is  itself  but  a part  of  the  great  cloud  of  mysteries  which  envelop 
the  present  and  future  purposes  of  religion. 

The  domestic  group,  in  the  foreground,  represents  a family  belonging  to  that  class 
of  society  who  are  supposed  to  be  safe  beyond  the  reach  of  the  ordinary  casualties  of 
life,  but  who  are  still  not  further  remote  from  the  darts  of  Death.  It  is  here  that  the 
painter  has  attempted  to  excite  the  strongest  degree  of  pity  which  his  subject  admitted, 
and  to  contrast  the  surrounding  horrors  with  images  of  tenderness  and  beauty.  The 
mother,  in  the  prime  of  life,  is  represented  as  having  expired  in  the  act  of  embracing 
her  children,  and  the  woe  of  sudden  death  is  still  more  emphatically  expressed  in  the 
lovely  infant  that  has  fallen  from  her  breast.  The  husband  deprecates  the  wrath  of 
the  hideous  spectre  that  advances  over  them  all,  while  the  surviving  daughter  catches 
hold  of  her  mother,  sensible  only  of  the  loss  which  she  has  sustained  by  the  death  of 
so  kind  a parent. 


7 


In  the  other  groups,  which  form  the  right  hand  division  in  the  picture,  the  artist 
has  shown  the  anarchy  of  the  combats  of  men  with  the  beasts  of  the  earth.  The  chief 
of  the  human  figures  in  this  division,  is  the  one  in  the  act  of  launching  his  javelin  at  a 
lion,  which  has  seized  and  brought  down  a man  and  his  horse.  In  the  character  with 
the  javelin,  Mr.  West  has  endeavored  to  delineate  that  species  of  courageous  muscu- 
lar strength  which  enables  some  men  to  face,  with  an  undaunted  countenance,  the 
rage  of  the  most  ferocious  animals.  The  sedate  bravery  of  his  look  affords  a fine 
contrast  to  the  alarm  and  terror  of  the  man  who  is  seized  by  the  enraged  lion,  which 
he  had  wounded  with  his  spear.  Below  them  is  a youth  who  has  broken  his  lance  in 
the  combat,  and  received  a fatal  blow  on  the  head ; behind  them  a horseman  comes 
forward  with  an  uplifted  sword,  in  the  act  of  striking  at  a lioness  that  is  springing  upon 
him  and  his  horse.  But  the  story  of  this  group  would  have  been  incomplete  had  the 
lions  not  been  shown  conquerors,  to  a certain  extent,  by  the  two  wounded  men  who 
are  thrown  down  as  overcome,  beneath  the  hoofs  of  the  horse  of  Death.  The  one 
with  his  back  towards  the  spectator  seems  to  regain  his  strength,  and,  by  still  holding 
his  dagger,  indicates  a wish  to  renew  the  fight ; the  other,  irrevocably  dashed  out  of 
the  combat,  and,  having  lost  his  weapon,  grasps  at  the  head  of  his  horse  with  a useless 
exertion  of  bewildered  sense.  The  pyramidal  form  of  this  large  division  is  perfected 
by  a furious  bull  torn  by  dogs,  as  he  tosses  on  his  horns  the  body  of  a youth. 

In  this  portion  of  the  picture,  the  firmament  is  rent  asunder  by  bursts  of  lightning 
and  a distant  group  is  seen  startled  by  the  death  of  a young  man  who  has  been  struck 
by  the  thunderbolt,  and  whose  friends  support  him  in  their  arms.  The  interest  of  the 
episode  is  increased  by  the  figure  of  a young  woman  flying  from  the  scene  of  terror, 
but  who  is  still  induced  to  look  back,  as  if  constrained  by  affection  for  the  victim. 

The  principle  of  destruction  is  exemplified  through  every  part  of  the  subject.  In 
the  upper  regions  of  the  clouds,  the  audacious  eagle  is  seen  pouncing  on  the  heron, 
and  near  the  dead  serpent  in  the  foreground,  the  affectionate  dove  deplores  its  mate 
that  has  just  expired. 


NO.  j SUBJECTS. 

ARTISTS. 

PROPRIETOR. 

10  j Paul  and  Barnabas, 

Benj.  West. 

Academy. 

“Then  all  the  multitude  kept  si- 
j lence,  and  gave  audience  to  Barnabas 
and  Paul,  declaring  what  miracles  and 
wonders  God  had  wrought  among 
the  Gentiles  by  them.” — Acts  xv.  12. 

11 1 Portrait  of  Booth  (the  elder),  as  Ri- 
chard III., 

Thomas. 

do. 

12  Portrait  of  James  Ross,  . . i 

T.  Sully. 

do. 

13  Fruit  and  Flowers, 

Campidoglio. 

do. 

I4j  Landscape,  ..... 

Salvator  Rosa. 

do. 

15  Cavalry  Halt,  .... 

Wonvermans. 

do. 

16  Nymphs,  ..... 

Polemberg. 

do. 

17  Beatrice  Cenci,  . . . after 

Guido. 

do. 

18  Portrait  of  C.  W.  Peale, 

C.  W.  Peale. 

do. 

8 


NO. 

SUBJECTS. 

ARTISTS. 

PROPRIETOR. 

19 

Portrait  of  Denon, 

Rem.  Peale. 

Academy. 

20 

Judith  with  the  Head  of  Holofernes, 

Lud.  Carraci. 

do. 

21 

Portrait  of  Washington, 

G.  Stuart. 

do. 

22 

Portrait  of  William  Pitt, 

Hoppner,  R.  A. 

do. 

23 

Fishermen  pushing  out  to  Sea, 

| 

Lucatelli. 

do. 

24 

Datheen  Preaching  before  the  walls 

1 

of  Ghent, 

Wittkamp. 

do. 

This  picture  represents  the  combatants  engaged  in  the  struggle  for  the  independence 
of  the  Netherlands  when  that  country  was  under  the  dominion  of  Spain,  in  the  16th 
century.  Pierre  Datheen  was  a Protestant  minister,  who  had  labored  zealously  to 
establish  the  Republic.  Brave,  impetuous  and  indefatigable,  he  preached  in  the 
churches,  in  private  houses,  in  the  open  air,  and  amid  the  field  of  battle.  In  the  above 
scene,  Datheen  is  represented  as  being  mounted  on  the  carriage  of  a cannon,  and 
inciting  his  companions  to  avenge  one  of  their  brethren-in-arms — the  leader  of  one  of 
the  powerful  corporations  which  had  struggled  so  courageously  against  the  tyranny  of 
Philip  II.  The  warriors  are  swearing  to  avenge  their  chief,  at  the  moment  the  stru^- 


25 

26 

27 

28 
29 


30 

31 

32 

33 


34 

35 

36 


to  the  left,  is  commencing. 

Landscape,  ..... 

Salvator  Rosa. 

Scene  on  the  Susquehanna, 

T.  Doughty. 

The  Miracle  at  Cana, 

Unknown. 

Dutch  Festival,  .... 

do. 

Dying  Brigand,  .... 

E.  II.  May. 

“ Mortally  wounded,  he  has  fallen 
i bathed  in  blood.  His  carbine  and 
his  hat  have  fallen  to  his  feet.  His 
wife,  devoutly  believing  that  there  is 
! no  crime  so  great  but  that  repentance 
; and  baptism  of  tears  can  wash  it 
away,  drags  the  dying  man  to  the  foot 
of  the  wayside  cross.” 

Banditti  among  Antique  Ruins 

Pannini. 

Portrait  of  James  Northcote,  R.  A. 

Rob.  Sully. 

Banditti  among  Antique  Ruins 

Pannini. 

1 Musidora  (after  B.  West), 

C.  R.  Leslie. 

“ Warm  in  her  cheek  the  sultry  season 
glow’d, 

And  rob’d  in  loose  drray,  she  came  to 
bathe.” 

Thomson's  Seasons. 

An  Old  Head,  .... 

Salvator  Rosa. 

Dog  and  Heron,  .... 

I Snyders. 

1 Flower  Piece  .... 

Boschaert. 

Academy. 

do. 

do. 

do. 

do. 


do. 

do. 

do. 

do. 


do. 

do. 

do. 


9 


NO. 

SUBJECTS. 

ARTISTS. 

37 

Shipwreck,  (from  the  Bonaparte  col- 
lection), ..... 

1 

Jos.  Yernet. 

38 

Dead  Game  and  Dog,'  . 

Snyders. 

39 

Clown  in  state  of  Dejection,  . 

T.  Gonne. 

A man  whose  necessities  compel 
him  to  play  the  clown  for  the  amuse- 
ment of  the  “ groundlings, ” but  pos- 
sessed of  capacities  and  aspiration 
for  some  better  occupation,  grieves 
over  his  lot ; while  his  faithful  dog, 
his  only  friend,  sympathizes  with  his 
master  in  his  sorrow. 

40 

Charles  the  First,  .... 

Yan  Dyke. 

41 

Portrait  of  Peter  Paul  Rubens,  (after 
Rubens),  ..... 

De  Roos. 

42 

Dugald  Stewart,  (after  Raeburn)  . 

J.  R.  Lambdin 

43 

Boar  Hunt,  ..... 

! Snyders. 

44 

The  Cardinal  and  his  Friends.  Yiew 
of  his  Palace  in  the  distance.  (For- 
merly in  the  Bonaparte  collection), 

Jos.  Yernet. 

45 

Flower  Piece,  .... 

: Boschaert. 

u 

The  Death  of  Athena,  . 

Unknown. 

H 

Mrs.  Wood,  as  Amina  (a  study),  . 

j T.  Sully. 

48 

St.  Jerome,  ..... 

1 Yan  Lint. 

49 

Landscape.  Evening,  . 

Paul  Weber. 

50 

Miss  Leslie,  . 

T.  Sully. 

51 

Sampson  and  Delilah, 

David. 

“And  she  made  him  sleep  upon 
her  knees;  and  she  called  for  a man, 
and  she  caused  him  to  shave  off  the 
seven  locks  of  his  head;  and  she  be- 
gan to  afflict  him,  and  his  strength 
went  from  him.  And  she  said,  The 
Philistines  be  upon  thee,  Sampson.” 
— Judges,  chap.  xvi.  v.  18,  19. 

52 

Snow  Scene,  ..... 

Lucatelli. 

53 

Interior, 

Ostade. 

54 

Canal  Scene,  ..... 

Leukert. 

55 

Landscape,  ..... 

T.  Doughty. 

56 

Time  and  Truth  Correcting  Love,  . 

Le  Brun. 

57! 

Portrait  of  Caleb  Cope,  Esq.,  Presi- 
dent of  the  Pa.  Academy  F.  A.,  . 

II.  Inman. 

PROPRIETOR. 


Academy. 

do. 

do. 


do. 

do. 

do 

do. 

do. 

do. 

do. 

do. 

do. 

do. 

do. 

do. 


do. 

do. 

do. 

do. 

do. 

do. 


10 


NO. 

SUBJECTS. 

ARTISTS. 

PROPRIETOR. 

58 

Fanny  Kemble  as  Juliet,  (a  Study),  . 

T.  Sully. 

Academy. 

59 

Portrait  of  J.  L.  David,  (the  Artist), 

Rembrandt  Peale. 

do. 

60 

Portrait  of  George  Clymer  (first 
President  of  the  Penn.  Academy 
of  the  Fine  Arts), 

C.  W.  Peale. 

do. 

61 

Portrait  of  Houdon, 

Rembrandt  Peale. 

do. 

11 


NORTII-WEST  GALLERY. 

PAINTINGS— Continued. 


NO. 

SUBJECTS. 

ARTISTS. 

PROPRIETOR. 

62 

Rouget  de  Lisle,  a French  officer, 
singing  for  the  first  time  the  Mar- 
seillaise Hymn,  of  which  he  was  the 
author,  at  the  house  of  the  Mayor 

of  Strasburg,  1792, 

G.  Guffens. 

Academy. 

Rouget  de  Lisle  was  a young  officer  of  Engineers  at  Strasburg.  He  was  born  at 
Sons-le  Salnier,  in  the  Puza , a country  of  revery  and  energy,  as  mountains  commonly 
are.  He  relieved  the  tediousness  of  a garrison-life  by  writing  verses  and  indulging  a 
love  of  music.  He  was  a frequent  visitor  at  the  house  of  the  Baron  de  Diedrich,  a 
noble  Alsacien  of  the  constitutional  party,  the  Mayor  of  Strasburg.  The  family 
loved  the  young  officer,  and  gave  new  inspiration  to  his  heart,  in  its  attachment  to 
music  and  poetry,  and  the  ladies  were  in  the  habit  of  assisting,  by  their  performances, 
the  early  conceptions  of  his  genius.  A famine  prevailed  at  Strasburg  in  the  winter 
of  1792.  The  house  of  Diedrich  was  rich  at  the  beginning  of  the  revolution,  but 
had  now  become  poor  under  the  calamities  and  sacrifices  of  the  time.  Its  frugal 
table  had  always  a hospitable  place  for  Rouget  de  Lisle.  He  was  there  morning  and 
evening  as  a son  and  brother.  One  day,  when  only  some  slices  of  ham  smoked  upon 
the  table,  with  a supply  of  camp  bread,  Diedrich  said  to  De  Lisle,  in  sad  serenity, 
“ Plenty  is  not  found  at  our  meals.  But  no  matter;  enthusiasm  is  not  wanting  at  our 
civic  festivals,  and  our  soldiers’  hearts  are  full  of  courage.  We  have  one  more  bottle 
of  Rhine  wine  in  the  cellar.  Let  us  have  it,  and  we’ll  drink  to  liberty  and  the 
country.  Strasburg  will  soon  have  a patriotic  fete , and  De  Lisle  must  draw  from 
these  last  drops  one  of  his  hymns,  that  will  carry  his  own  ardent  feelings  to  the  soul 
of  the  people.”  The  young  ladies  applauded  the  proposal.  They  brought  the  wine, 
and  continued  to  fill  the  glasses  of  Diedrich  and  the  young  officer  until  the  bottle  was 
empty.  The  night  was  cold.  De  Lisle’s  head  and  heart  were  warm.  He  found  his 
way  to  his  lodgings,  entered  his  solitary  chamber,  and  sought  for  inspiration  at  one 
moment  in  the  palpitations  of  his  citizen’s  heart,  and  at  another  by  touching,  as  an 
artist,  the  keys  of  his  instrument,  and  striking  out  alternately  portions  of  an  air,  and 
giving  utterance  to  poetic  thoughts.  He  did  not  himself  know  which  came  first ; it 
was  impossible  for  him  to  separate  the  poetry  from  the  music,  or  the  sentiment  from 
the  words  in  which  it  was  clothed.  He  sang  altogether,  and  wrote  nothing.  In  this 
state  of  lofty  inspiration,  he  went  to  sleep  with  his  head  upon  the  instrument.  The 
chants  of  the  night  came  upon  him  in  the  morning  like  the  faint  impressions  of  a 
dream.  He  wrote  down  the  words,  made  the  notes  of  the  music,  and  ran  to  Diedrich’s. 
He  found  him  in  the  garden  digging  winter  lettuces.  The  wife  of  the  patriot  mayor 
was  not  yet  up.  Diedrich  awoke  her.  They  called  together  some  friends,  who  were, 


12 


like  themselves,  passionately  fond  of  music,  and  able  to  execute  the  compositions  of 
Be  Lisle.  One  of  the  young  ladies  played,  and  Rouget  sang.  At  the  first  stanza, 
the  countenances  of  the  company  grew  pale  ; — at  the  second,  tears  flowed  abundantly; — 
at  the  last,  a delirium  of  enthusiasm  broke  forth.  Diedrich,  his  wife,  and  the  young 
officer  cast  themselves  into  each  other’s  arms.  The  hymn  of  the  nation  was  found. 
Alas ! it  was  destined  to  become  a hymn  of  terror.  The  unhappy  Diedrich,  a few 
months  afterwards,  marched  to  the  scaffold  at  the  sound  of  the  notes  first  uttered  at 
his  hearth  from  the  heart  of  his  friend  and  the  voice  of  his  wife. 

The  new  song,  executed  some  days  afterwards  publicly  at  Strasburg,  flew  from  town 
to  town  through  all  the  orchestras.  Marseilles  adopted  it  to  be  sung  at  the  opening 
and  adjournment  of  the  clubs.  Hence  it  took  the  name  of  the  Marseillaise  Hymn. 
The  old  mother  of  De  Lisle,  a loyalist  and  a religious  person,  alarmed  at  the  reverbe- 
ration of  her  son's  name,  wrote  to  him — “ What  is  the  meaning  of  this  revolutionary 
hymn,  sung  by  hordes  of  robbers  who  pass  all  over  France,  with  which  our  name  is 
mixed  up?”  De  Lisle  himself,  proscribed  as  a Federalist,  heard  its  re-echo  upon  his 
ears  as  a threat  of  death,  as  he  fled  among  the  paths  of  Jura.  “ What  is  this  song 
called  ?”  he  inquired  of  his  guide.  “ The  Marseillaise replied  the  peasant.  It  was 
with  difficulty  that  he  escaped. 


H 

SUBJECTS. 

ARTISTS. 

PROPRIETOR. 

63 

The  Last  Judgment, 

Dutch  Angelo. 

Academy. 

64 

Robert  Morris,  .... 

C.  W.  Peale. 

do. 

65 

Martyrdom  of  St.  Catharine,  . 

Unknown. 

do. 

66 

Night  Scene — Conflagration,  . 

ITonthorst. 

do. 

67 

Flight  into  Egypt, 

Unknown. 

do. 

The  Angel  of  the  Lord  appeared 
to  Joseph  in  a dream  saying,  arise 
and  take  the  young  child  and  his 
mother,  and  flee  into  Egypt,  and  be 
thou  there  until  I bring  thee  word. 
When  he  arose,  he  took  the  young 
1 child  and  his  mother  by  night,  and 
departed  into  Egypt. — Matthew  ii.  1 3. 

68 

River  Scene,  ..... 

Van  Goyen. 

do. 

69 

i Portrait  of  Fanny  Kemble, 

T.  Sully. 

do. 

70 

l St.  Mark  writing  his  Gospel,  . 

Unknown. 

do. 

71 

The  Judgment  of  Silenus,  . after 

Jordaens. 

do. 

72 

j Landscape,  . . . 

De  Groot. 

do. 

73 

1 Virtue  directed  by  Prudence  to  avoid 
the  Solicitations  of  Folly,  . 

Ang.  Kauffman. 

do. 

74 

1 Embarkation,  .... 

II.  C.  Vroom. 

do. 

75 

1 The  F6te  Champeire, 

Olivier. 

do. 

76 

Gardeners,  ..... 

Van  Ash. 

do. 

77 

1 Cupid  Musing,  .... 

Schidone. 

do. 

13 


NO. 

SUBJECTS. 

ARTISTS. 

PROPRIETOR. 

78 

The  Cherry  Girl,  .... 

Van  Thol. 

Academy. 

7y 

Portrait  of  Benjamin  West,  (after 
Leslie’s  copy  of  Lawrence), 

T.  Sully. 

do. 

80 

Roman  Aqueduct  and  Moorish  Ruins 
at  Alcala,  in  Spain, 

Bossnet. 

do. 

81 

The  Fete  Champfetre, 

Olivier. 

do. 

82 

Fruiterers, 

Van  Asch. 

do. 

83 

Cupid  with  a Vase, 

Schidone. 

do. 

84 

Landscape,  . . . . . 

Unknown. 

do. 

85 

An  Italian  Sea  Port, 

do. 

do- 

86 

The  Recovery,  .... 

Carl  Hubner. 

do. 

87 

Marine  View,  .... 

Van  Os. 

do. 

88 

River  Scenery,  .... 

Van  Goyen. 

do. 

89 

Fruit,  ...... 

(Unknown. 

do. 

90 

Portrait  of  Chas.  Kemble, 

T.  Sully. 

do. 

91 

Landscape,  ..... 

(Unknown. 

do. 

92 

Apples  and  Fox  Grapes, 

Raphael  Peale. 

do. 

93 

Grapes  and  Peaches, 

do. 

do. 

94 

Deliverance  of  Leyden,  . 

Wittkamp. 

do. 

In  1574,  during  the  cruel  wars  carried  on  by  Philip  II.,  Leyden  was  besieged  by 
the  Spaniards  under  Valdez.  The  King  of  Spain,  after  a long  course  of  barbarity 
conducted  by  the  Duke  of  Alva,  had  offered  by  proclamation  a free  pardon  to  all, 
except  the  Prince  of  Orange,  who  should  come  in  and  sign  an  abjuration  of  their 
heresy.  The  provinces  universally  rejected  the  offer,  and  resolved  on  maintaining 
their  liberties  to  the  last.  Although  threats  had  been  uttered  against  Leyden,  and  a 
fearful  attack  was  expected,  and  the  Prince  of  Orange  had  given  the  strictest  orders 
for  victualling  and  preparing  the  town,  proper  precautions  were  by  some  fatality 
neglected,  and  the  inhabitants  were  exposed  to  the  pressure  of  a thousand  wants  dur- 
ing the  most  obstinate  and  bloody  siege  the  Netherlands  had  yet  experienced.  The 
Spaniards,  by  a strict  blockade,  reduced  it  to  the  last  extremity.  The  Dutch  could 
muster  no  force  adequate  to  its  relief.  Despair  and  necessity  were  the  cause  of  pro- 
digious endurance  and  efforts.  The  inhabitants  lived  on  the  carcasses  of  their  fellow- 
citizens.  Women  lined  the  ramparts,  and  performed  the  duty  of  soldiers.  Six  thou- 
sand persons  out  of  twenty  thousand  died  of  famine.  When  summoned  to  surrender, 
the  survivors  replied  that  they  could  not  want  subsistence  so  long  as  their  left  arms 
remained,  on  which  they  could  feed,  while  with  the  right  they  defended  the  city.  Van- 
derwerf,  the  Burgomaster — the  central  figure  of  the  picture — was  at  the  time  solicited 
by  some  of  the  inhabitants  to  surrender.  He  said  to  them:  “My  friends,  since  I must 
die,  it  is  of  little  importance  whether  I fall  by  you  or  by  the  enemy:  cut  me  to  pieces 
and  divide  the  pieces  among  you  ; I shall  die  satisfied  if  I can  be  in  any  way  useful. ” 


14 


At  the  moment  that  has  been  described,  th&  magnanimous  resolution  was  formed  of 
breaking  down  the  dikes,  and  letting  the  ocean  overflow  the  Rhineland.  Information 
was  given  to  the  besieged  by  their  countrymen  at  a distance,  by  means  of  carrier 
pigeons,  that  the  dikes  of  the  Meuse  and  the  Yssel  had  been  opened.  After  some 
time,  the  sea,  impelled  by  a violent  southwest  wind,  rushed  in  and  drove  the  inunda- 
tion with  such  fury  against  the  besiegers,  that  Yaldez,  fearing  that  his  army  would  be 
swallowed  up  in  the  waves,  was  obliged  to  draw  off  his  forces,  and  relinquish  the  en- 
terprise. The  Admiral  of  Zealand,  Louis  Boissot,  then  advanced  with  his  little  fleet 
of  flat-bottomed  boats,  which  had  been  prepared  for  the  relief  of  the  brave  citizens, 
sailed  over  the  newly-formed  expanse,  and  triumphantly  entered  the  city. 

The  Prince  of  Orange  soon  arrived  among  the  gallant  inhabitants.  After  reward- 
ing the  Admiral  and  the  commander  of  the  town,  Douza  (or  Does),  and  the  officers 
and  soldiers,  he  offered  to  the  town  the  option  of  two  benefits — an  immunity  from 
taxes  for  a certain  period,  or  the  foundation  of  a University  in  the  city.  The  citizens 
crowned  their  former  glory  by  choosing  the  latter  part  of  the  alternative.  It  is  to 
this  circumstance  that  the  celebrated  University  of  Leyden  owes  its  existence. 


No.  1.  Is  the  Burgomaster  of  the  town,  Pieter  Adrianszoon  Yanderwerf.  He  is 
raising  his  eyes  towards  heaven,  as  thanking  the  God  of  his  country. 

No.  2.  Pieter  Corneleszoon  Manalant , an  Evangelical  Preacher,  apostle  of  the  Protest- 
ant religion. 

No.  3.  The  Military  Chief,  Van  der  Does. 

No.  4.  Gerard  Van  der  Laan , Captain  of  Yolunteers,  who  has  returned  from  the 
outside  of  the  town,  where  he  has  protected  BoissoPs  boats. 

No.  5.  The  Poet,  Pieter  Janszoon  Van  der  Morsch , wounded  during  the  siege. 

No.  6.  Is  a portrait  of  the  Painter,  M.  Wittkamp . 

The  groups  dispersed  over  the  picture  represent  different  classes  of  society.  The 
deliverance  of  the  town  and  the  arrival  of  bread  are  the  two  sentiments  that  cause  a 
thrill  among  the  wretched  inhabitants,  who  had  been  on  the  brink  of  the  grave.  At 
this  moment  the  hero  Vanderwerf  is  not  forgotten.  They  who  a little  while  before 
endeavored  to  shake  his  courage  by  their  threats,  now  bless  him  as  a protecting 
divinity.  They  have  undergone  sufferings,  but  they  are  now  relieved.  The  people 
manifest  their  gratitude ; they  bow  down  before  the  civic  virtue  and  the  sublime  power 
of  religion,  which  were  certainly  the  great  supporters  of  the  courage  of  Leyden. 


15 


NO. 

1 

SUBJECTS. 

ARTISTS. 

PROPRIETOR. 

95 

Portrait  of  Sir  Walter  Raleigh, 

|Yanderpool. 

Academy. 

96 

Cavalry  Charge,  .... 

,Yander  Meulen. 

do. 

97 

Marine  Yiew,  (formerly  in  the  Bona- 
parte Collection), 

Jos.  Yernet. 

do. 

98 

Portrait  of  Nicholas  Duval,  . 

Nicholas  Duval 

do. 

99 

The  Israelites  crossing  the  Red  Sea, 

Unknown. 

do. 

100 

Landscape,  ..... 

Russell  Smith. 

do. 

101 

Fancy  Head,  .... 

Mrs.  J.  Sully  Darley. 

do. 

102 

A Country  School, 

Ilorremans. 

do. 

103 

A Wedding,  Bishop  Wrhite  offici- 
ating,   

■Krimmel. 

do. 

104 

Battle  Piece,  ..... 

Yander  Meulen. 

do. 

105 

Marine,  (formerly  in  the  Bonaparte 
Collection),  .... 

Jos.  Yernet. 

do. 

106 

Portrait  of  Martin  Luther’s  Wife, 
Catharine  von  Bora,  . 

Yan  Lint. 

do. 

107 

Dead  Game,  ..... 

Jan.  Fytt. 

do. 

108 

Yiew  of  Niagara  Falls,  (in  Enamel), 

Wm.  Birch. 

do. 

109 

G.  F.  Cooke  as  Falstaff,  (in  Water 
Colors),  . . - . 

C.  R.  Leslie. 

110 

A Group  of  Angels  copied  from 
Raphael’s  Heliodorus, 

C.  Yogel. 

do. 

111 

Dead  Game,  ..... 

Jan.  Fytt. 

do. 

112! 

G.  F.  Cooke  as  Richard  III.  (in 
Water  Colors),  .... 

C.  R.  Leslie. 

do. 

113 

G.  F.  Cooke  as  Othello,  (in  Water 
Colors),  ..... 

do. 

do. 

114 

Spaniels, 

Ilademaker. 

do. 

115 

Rape  of  Europa,  . . . after 

Poussin. 

do. 

116 

Sea  Port  in  Holland, 

Storks. 

do. 

117 

A Horse  Market,  . 

Peter  Yan  Bloeman. 

do. 

118 

Homer  Reciting  his  Poems  in  the 
City  of  Argos,  . . . . r 

Yolozon. 

do. 

119 

Interior  of  a Dutch  Kitchen,  . 

Bertaux. 

do. 

120 

Dutch  Courtship,  . . . . < 

Grasbach. 

do. 

121 

Interior  of  a Cathedral  by  Torch- 
light, the  Figures  by  Teniers, 

Peter  Neefs. 

do. 

122 

Interior  and  Still  Life,  . 

A.  Ostade. 

do. 

123 

Chew’s  House,  Germantown,  . 

Russell  Smith. 

do. 

124 

Moonlight,  ..... 

Yan  Goyen. 

do. 

125 

Landscape,  with  Cattle, (after  Cooper), 

McMurtrie. 

do. 

16 


VO. 

SUBJECTS. 

ARTISTS. 

PROPRIETO 

126 

Infant  Christ  and  St.  John;  (after 
Raphael),  ..... 

Unknown. 

1 

Academy. 

127 

Barn  Yard  Fowls,  .... 

Schonman. 

do. 

128 

The  Music  Party,  .... 

Unknown. 

do. 

129 

Gentleman  and  his  Yalet, 

Eckhont. 

do. 

130 

The  Snow  Shoveller, 

J.  G.  Brown. 

do. 

131 

Fourth  of  July  in  Centre  Square, 

Krimmel. 

do. 

132 

Embarkation  of  Columbus, 

P.  F.  Rothermel.  , 

do. 

“The  squadron  being  ready  to  put 
to  sea,  a deep  gloom  was  spread  over 
the  whole  community  of  Palos,  at 
their  departure,  for  almost  every  one 
had  some  relative  or  friend  on  board 
the  squadron.  The  spirits  of  the 
: seamen,  already  depressed  by  their 
own  fears,  were  still  more  cast  down 
at  the  affliction  of  those  they  left  be- 
hind, who  took  leave  of  them  with 
tears  and  lamentations,  and  dismal 
forebodings,  as  of  men  they  were 
never  to  behold  again.” — Irving's 
! Life  of  Columbus. 

133:  St.  Peter  Delivered  from  Prison,  . Domiuichino,  1605.  do. 

And,  behold,  the  angel  of  the  Lord 
came  upon  him,  and  a light  shone  in 
the  prison  ; and  he  smote  Peter  on  the  ( 

; side  and  raised  him  up,  saying,  Arise 
up  quickly ; and  his  chains  fell  off 
from  his  hands. — Acts,  xii.  7. 

1 34 1 Lord  Byron,  ..... 

135  Head  of  a Female  Saint,  . after 

1361  Portrait  of  John  Locke,  . after 


W.  E.  West.  do. 

Carlo  Dolci.  do. 

Kneller.  i do. 


17 


ROTUNDA. 

PAINTINGS— Continued. 


NO. 

SUBJECTS. 

ARTISTS. 

PROPRIETORS. 

137 

David  returning  thanks  for  his  tri- 
umph over  Goliah, 

Schweminger. 

Academy. 

138 

The  Murder  of  Rutland  by  Lord 
Clifford, 

C.  R.  Leslie,  R.  A. 

do. 

Rutland.  Oh  1 let  me  pray  before  I 
take  my  death ; 

To  thee  I pray : sweet 

Clifford,  pity  me ! 

Clifford.  Such  pity  as  my  rapier’s 
point  affords. 

Rutland.  I neverdid  thee  harm  ; why 
wilt  thou  slay  me? 

Clifford.  Thy  father  slew  my  father; 
therefore  die. 

Shakspeare , Henry  VI. , 
Part  3,  Act  1. 

139 

Baron  Williams,  .... 

Thomson,  R.  A. 

do. 

140 

Bonaparte  Crossing  the  Alps,  (after 
David),  ..... 

C.  B.  Lawrence. 

do. 

U1 

Gil  Bias  securing  the  Cook  in  the 
Robber’s  Cave,  .... 

John  Opie,  R.  A. 

do. 

142 

Pat  Lyon  at  his  Forge,  . 

J.  Neagle. 

do. 

143 

Full  length  Portrait  of  G.  F.  Cooke, 
as  Richard  III.,  . 

T.  Sully. 

do. 

144 

Adam  and  Eve,  .... 

Carlo  Lotti. 

do. 

“And  when  the  woman  saw  that 
the  tree  was  good  for  food,  and  that 
it  was  pleasant  to  the  eyes,  and  a tree 
to  be  desired  to  make  one  wise,  she 
took  of  the  fruit  thereof  and  did  eat; 
and  gave  also  unto  her  husband  with 
her;  and  he  did  eat.” — Genesis,  iii.  6. 

145 

Mercury  deceiving  Argus, 

Salvator  Rosa. 

do 

146 

The  Tribute  Money,  (after  Rubens), 

T.  Sully. 

do. 

“And  when  they  were  come,  they 
say  unto  him,  Master,  we  know  that 
thou  arttrueandcarestfor  no  man ; for 
thou  regardest  not  the  person  of  men, 
but  teachest  the  way  of  God  in  truth. 
Is  it  lawful  to  give  tribute  to  Caesar 
or  not?” — Mark , xii.  14. 

2 


18 


„0. 

i 

SUBJECTS. 

ARTISTS. 

PROPRIETORS. 

m 

The  Evangelist  St.  Mark, 

Domenichino. 

Academy. 

148 

Adoration  of  the  Magi,  . 

Andrea  Vicentino. 

do. 

“When  they  were  come  into  the 
house  they  saw  the  young  child  with 
Mary,  his  mother,  and  fell  down  and 
worshipped  him  ; and  when  they  had 
opened  their  treasures,  they  presented 
unto  him  gifts;  gold,  frankincense, 
and  myrrh.” — Matthew , ii.  11. 

149 

Full  length  Portrait  of  Washington, 

G.  Stuart. 

do. 

150 

Death  of  Abel,  .... 

Carlo  Lotti. 

do. 

“And  Cain  talked  with  Abel,  his 

brother;  and  it  came  to  pass  when 
they  were  in  the  field,  that  Cain  rose 
up  against  Abel,  his  brother,  and 
slew  him.” — Genesis , iv.  8. 

STAINED  GLASS  OVER  THE  FRONT  DOOR. 

151 

Law,  (after  Van  Ostade), 

J.  and  G.  M.  Gibson. 

do. 

152; 

Washington,  (after  Stuart), 

do. 

do. 

153 

Christ  Blessing  Little  Children, 

do. 

do. 

154 

The  Transfiguration  (after  Raphael), 

do. 

do. 

155 

Physic,  (after  Van  Ostade),  . 

do. 

do. 

156 

, Benj.  West,  (after  Sir  T.  Lawrence), 

do. 

do. 

Not  on  Exhibition. 

157 

i Portrait  of  Henry  D.  Gilpin,  . 

J.  R.  Lambdin. 

do. 

158 

Still  Life,  (Fish  and  Lobsters,  for- 

merly in  the  Bonaparte  collection), 

do. 

159 

Portrait  of  a Gentleman, 

do. 

160 

Bishop  White, 

do. 

161 

Interior  of  an  Iron  Foundry,  . 

Bas  Otis. 

do. 

162 

i Landscape — River  Cascade,  . 

do. 

163 

i Coast  Scene — Storm, 

do. 

19 


SCULPTURE  IN  MARBLE. 


NO. 


SUBJECTS. 


ARTISTS. 


PROPRIETORS. 


1 64 1 Statue  of  Penelope.  Presented  by  J. 
Rhea  Barton,  Esq., 

Penelope,  inspired  by  Minerva, 
having  penetrated  the  disguise  of 
Ulysses,  as  he  sits  among  the  suitors, 
determines  to  offer  a trial  of  strength, 
in  which  she  is  sure  of  his  triumph. 
She  brings  forth  the  bow  and  arrows 
of  Ulysses,  which  she  had  carefully 
preserved  during  his  absence,  and 
bearing  them  majestically  to  the  hall 
where  the  suitors  are  assembled, 
pauses  at  the  threshold  and  an- 
nounces her  plan. 

“Who  first  Ulysses’  wondrous  bow  shall 
bend, 

And  through  twelve  ringlets  the  fleet 
arrow  send, 

Him  will  I follow,  and  forsake  my  home, 
For  him  forsake  this  loved,  this  wealthy 
dome.” 

165j  Hero  and  Leander, 


Rinaldo  Rinaldi.  Academy. 


Steinhauser.  do. 


Hero  was  a priestess  of  Yenus,  at  Sestos,  on  the  coast  of  Thrace. 

The  loves  of  Hero  and  Leander  are  related  in  a poem  attributed  to  a Grecian  bard 
who  bears  the  name  of  Musaeus.  Hero  and  Leander  saw  each  other  at  a festival  in 
honor  of  Yenus  and  Adonis,  at  Sestos,  where  he,  among  many  of  the  people  of 
Abydos,  was  present,  and  where  they  immediately  became  enamored  of  each  other. 
Favored  by  the  darkness  of  the  approaching  night,  Leander  stole  into  the  temple, 
and  confessed  his  love  to  the  blushing  maid.  But  the  relations  of  Hero,  and  her 
sacred  office,  opposed  the  union  of  the  lovers.  No  difficulties,  however,  could  dis- 
courage Leander.  He  swam  every  night  across  the  Hellespont  to  his  mistress,  guided 
by  a torch  which  shone  across  the  strait  from  the  tower  of  Hero.  Even  the  stormy 
season  of  winter  could  not  deter  the  adventurous  lover  from  his  perilous  visits;  till  at 
last,  on  one  fatal  occasion,  his  strength  failed  him,  and  the  waves  carried  his  lifeless 
body  to  the  foot  of  the  tower,  where  Hero  anxiously  awaited  his  accustomed  arrival. 
Overcome  with  anguish  at  the  sight,  the  love-distracted  girl  threw  herself  from  its 
turret  on  the  corpse  of  her  lover,  and  perished  there. 


166 

Bust  of  H.  Cannon, 

H.  Cannon. 

167 

Bust  of  Judge  Hemphill, 

Trentanova, 

168 

Bust  of  Alexander  Hamilton, 

Academy. 

do. 

do. 


20 


NO. 

SUBJECTS. 

ARTISTS. 

PROPRIETORS. 

169 

Bust  of  Henry  Clay, 

H.  Cannon. 

Academy. 

170 

Bust  of  Lafayette, 

H.  Greenough. 

do. 

171 

Bust  of  Benjamin  Franklin,  . 

Cerrachi. 

do. 

172 

Yenus  de  Medici,  .... 

After  antique. 

do. 

173 

Antinous  of  the  Capitol, 

do. 

do. 

174 

Bust  of  Emperor  Commodus,  . 

do. 

do. 

175 

Bust  of  Emperor  Caracalla,  . 

do. 

do. 

176 

Bust  of  Octavia,  wife  of  Mark  An- 
tony. (Presented  by  Mrs.  Gibson), 

do. 

do. 

177 

Bust  of  Minerva,  .... 

do. 

do. 

178 

Bust  of  a Son  of  Niobe, 

do. 

do. 

179 

Bust  of  a Daughter  of  Niobe, 

do. 

do. 

180 

Dancing  Bacchante, 

C.  M.  Clodion. 

do. 

181 

Bacchante  and  Young  Faun, 

do. 

do. 

182 

Colossal  Foot  of  Minerva.  (Pre- 
sented by  Samuel  Hazard,  Esq.),  . 

Antique. 

do. 

183! 

Yase  from  the  Buried  City  of  Her- 
culaneum, ..... 

do. 

do. 

184 

Fighting  Gladiator,  (in  Bronze), 

After  antique. 

do. 

185 

Bust  of  Spring,  .... 

Palmer. 

186 

The  Sleeping  Hermaphrodite.  (Pre- 
sented by  the  Rev.  Dr.  Ducachet.) 

After  antique. 

do. 

This  work  was  so  much  esteemed  by  the  ancients  that  many  antique  repetitions  of 
it  have  already  been  found.  The  best  is  that  known  as  the  Borghese,  which  was  dis- 
covered near  the  hot  baths  of  Diocletian,  early  in  the  seventeenth  century.  The 
mattress  is  modern,  and  was  executed  by  Bertin  in  his  early  youth. 


Bust  of  Proserpine.  (Presented  by 
John  Livezy,  Esq.),  . 

Hiram  Powers. 

Draped  Female  Figure,  (mutilated), 

Antique. 

The  colossal  head  in  marble  of  Na- 
poleon Bonaparte,  on  one  side  of 
the  front  portico,  was  the  gift  of 
Mr.  J.  L.  Moss,  and  is  a copy  of 
the  head  of  the  statue  in  the  cortile 
of  the  Brera  Palace  at  Milan, 

After  Canova. 

Bust  of  Franklin  on  the  opposite  side 
of  the  Portico,  .... 

After  Cerrachi. 

Academy. 


do. 

do. 


191.  The  mutilated  antique  marble  statue,  of  colossal  proportions,  standing  in  front  of 
the  Academy  building,  represents  the  Goddess  Ceres.  It  was  brought  from  Me- 
gara,  in  Greece,  by  Commodore  Patterson,  and  presented  by  him  to  the  Pennsyl- 
vania Academy. 


21 


CASTS  IN 

PLASTER. 

NO. 

SUBJECTS. 

ARTISTS. 

PROPRIETORS. 

192 

Impressions  of  1886  Antique  Gems 

from  the  Museums  of  Rome,  Na- 

pies,  and  Florence,  (21  cases), 

1 Antique. 

Academy. 

193 

Medallion  of  Spring, 

' Thorwaldsen. 

do. 

194 

Medallion  of  Summer,  . 

do. 

do. 

195 

Medallion  of  Autumn,  . 

do. 

do. 

196 

Medallion  of  Winter, 

do. 

do. 

197 

Medallion  of  Night, 

do. 

do. 

198 

Medallion  of  Hay, 

do. 

do. 

199 

Original  Model  for  the  Sculptured 

Decorations  over  the  entrance  to 

the  General  Post-Office  at  Wash- 

ington. ( Over  the  door  of  the  S.  W. 

gallery ), 

Butti. 

do. 

The  keystone  is  a mask  of  Fidelity,  marked  by  her  usual  emblems. 

In  the  spandrils 

are  winged  figures  appropriately  representing  Steam  and  Electricity:  the  former,  with 
a countenance  indicating  power  and  energy,  applies  his  torch  to  the  engine  that 
hurls  forward  the  railroad  car;  the  latter,  of  bright  and  animated  expression,  holds  in 
one  hand  the  unfolded  scroll,  and  from  the  other  throws  the  lightning  dart,  indicative 
of  the  electric  telegraph. 


200j  Napoleon  I.,  (a  Medallion  imbedded 
in  glass).  Presented  by  Joseph 
Bonaparte  to  J.  Breban,  by  whom 
it  was  presented  to  the  Academy. 


201 

202| 

203, 

204 

205 

206 


Bust  of  Napoleon  I., 

Talbot  Hamilton,  (Medallion  in  wax), 
Bust  of  Canova,  .... 
Bust  of  Chief-Justice  Gibson, 

Bust  of  Raphael,  .... 

The  East  Gate  of  the  Baptistery  of 
St.  John,  at  Florence,  (a  Cast 
from  the  original  bronze),  . 


At  present  concealed  behind  the  Picture 
of  Christ  Rejected. 


Academy. 

do. 

Miller. 

do. 

Canova. 

do. 

Persico. 

do. 

do. 

Lorenzo  Ghiberti. 

do. 

11  Andreas  di  Pisano,’’  after  a labor  of  twenty-two  years,  executed  the  first  of  the 
gates  of  the  Baptistery  of  St.  John,  at  Florence.  It  contained  twenty-four  panels. 
The  bas-reliefs  represent  the  life  of  St.  John  the  Baptist,  from  his  birth  to  his  death. 
It  was  commenced  in  the  year  1330.  The  second  and  third  gates  were  made  in  the 
succeeding  century,  by  Lorenzo  Ghiberti.  The  second  was  divided  into  twenty-eight 


22 


panels.  In  the  twenty  upper  ones  are  represented  the  principal  histories  of  the  New 
Testament,  and  on  the  eight  lower  ones  are  the  four  Evangelists  and  four  doctors  of 
the  church.  One  of  them  is  writing,  another  reading,  another  meditating,  and  all  are 
distinguished  by  their  attitude  and  costume. 

The  third  gate  of  the  Baptistery  of  St.  John,  at  Florence,  a work  of  Lorenzo 
Ghiberti,  is  that  from  which  this  is  a cast.  It  exhibits  two  parts,  divided  into  ten 
panels,  containing  bas-reliefs,  the  subjects  of  which,  taken  from  the  Old  Testamenti 
were  selected  by  Leonardo  Bruni  d’Arezzo,  Chancellor  of  the  Florentine  Republic. 
Yarchi  calls  this  gate  a marvellous  work,  and  perhaps  unique  in  all  the  world. 
IFAgincourt  considers  it  one  of  the  most  precious  monuments  of  modern  art.  Michael 
Angelo  judged  it  worthy  to  be  “the  Gate  of  Paradise. ” 

1.  This  first  bas-relief  represents  the  creation  of  Adam  and  Eve  ; — also,  when  they 
ate  the  forbidden  fruit ; and  when  the  angel  drove  them  from  Paradise. 

2.  Represents  Adam  and  Eve  with  their  children  still  young.  Cain  offers  his  first- 
fruits,  and  Abel  sacrifices  the  best  and  the  fattest  of  his  flock.  Cain  tills  the  ground. 
In  the  distance  Abel  takes  care  of  his  flock.  Cain,  under  the  influence  of  envy,  kills  his 
brother.  God  appears  to  Cain,  and  asks  him  what  he  has  done  with  his  brother  Abel. 

3.  Noah  is  coming  out  of  the  Ark  : himself,  his  wife  and  children,  and  everything 
that  was  there.  lie  offers  a sacrifice.  The  rainbow  appears  as  an  eternal  covenant 
between  God  and  him.  Noah  is  seen  planting  a vineyard,  and,  having  taken  of  the 
juice  of  his  fruit,  he  becomes  drunken.  In  this  condition  he  is  scoffed  at  by  11am,  but 
his  two  other  sons  cover  him  with  a mantle. 

4.  Three  angels  appear  to  Abraham  in  the  vale  of  Mamre.  He  is  about  to  sacrifice 
his  son  Isaac.  His  servants  go  with  him  to  the  foot  of  the  mountain,  where  he  has 
commanded  them  to  remain.  An  angel  arrests  the  hand  of  Abraham,  and  shows  him 
a ram  for  an  offering  in  the  place  of  his  son. 

5.  Birth  of  Jacob  and  Esau.  While  Esau  is  at  the  chase,  Jacob,  assisted  by  Re- 
becca, his  mother,  receives  the  blessing  of  Isaac,  by  covering  his  hands  and  neck  with 
the  skin  of  a goat,  in  order  that  his  father,  who  could  not  see,  might  believe,  from  his 
hairy  hands,  that  it  was  Esau  his  brother. 

G.  Ghiberti,  desiring  to  exercise  his  talents  in  the  most  difficult  things,  and  where 
the  greatest  art  was  required,  exhibits  here  the  principal  incidents  in  the  life  of  Joseph. 
He  is  put  into  a well  by  his  brethren  ; then,  sold  to  Potiphar,  he  explains  the  dreams 
of  Pharaoh  ; he  foretells  the  dreadful  famine  which  threatens  Egypt,  and  provides  for 
it  abundantly.  Pharaoh  admires  his  wisdom,  and  crowns  him  with  honors.  Jacob 
sends  his  sons  to  Egypt  to  buy  corn  ; Joseph  recognizes  his  brethren,  and  gives  them 
a great  feast.  Has  the  golden  cup  hid  in  the  sack  of  Benjamin,  and,  after  it  has  been 
found,  Joseph  makes  himself  knowm  to  his  brethren. 

7.  Represents  Moses  on  the  top  of  Mount  Sinai,  receiving  from  God  the  tables  of 
law.  Lower  down,  and  separately,  Joshua  is  seen  prostrate,  and,  at  the  foot  of  the 
mountain,  the  terrified  Israelites  awaiting  the  return  of  their  Lawgiver. 

8.  While  the  Ark  carried  by  the  Levites  is  stopped  in  the  middle  of  the  Jordan, 
Joshua  passes  over,  followed  by  the  Israelites.  Twelve  men,  chosen  from  the  twelve 
tribes,  take  from  the  river  each  a stone  to  form  the  monument  commemorative  of  this 
miraculous  passage.  Farther  on  are  seen  the  twelve  tents  erected  by  the  order  of 
Joshua,  and  in  the  background  the  Holy  Ark  carried  around  the  walls  of  Jericho,  which 
the  Jew's  took  in  seven  days,  the  walls  having  been  thrown  down  by  the  sound  of 
trumpets  only. 


9.  David,  the  Conqueror  of  Goliah,  defeats  the  Philistines,  and  returns  in  triumph, 
carrying  the  head  of  the  giant  in  his  hand.  The  people  of  God  meet  him  singing, 
11  Saul  has  killed  his  thousands,  and  David  his  tens  of  thousands.” 

10.  Represents  the  Queen  of  Sheba,  with  her  vast  retinue,  visiting  Solomon,  and 
offering  him  rich  presents. 

The  fields  or  frames  which  surround  the  panels,  exhibit  little  niches,  with  twenty 
small  upright  figures,  representing  sibyls  and  prophets;  four  figures  recumbent,  and 
twenty-four  heads,  among  which  is  the  portrait  of  the  artist,  Lorenzo  Ghiberti,  and 
that  of  his  father  and  master  Bartoluccio,  who  assisted  him  in  the  work.  Near  these 
busts  is  this  inscription  : — 

Laurentii  Cionis  de  Ghibertis  opus , mira  arte  fabricatum. 

The  frame,  also  of  bronze,  is  enriched  with  festoons  of  fruits  and  flowers,  with  birds 
and  beasts. 


NO. 

SUBJECTS. 

ARTISTS. 

PROPRIETORS. 

207 

Bust  of  Judge  Hopkinson, 

Cleavenger. 

Academy. 

CO 

o 

CM 

Bust  of  Washington  Allston,  . 

do. 

do. 

209 

Bust  of  Innocence, 

C.  A.  Fraiken. 

do. 

210 

Bust  of  Alexander  Hamilton, 

do. 

211 

Bust  of  W.  C.  Bryant,  . 

Brackett. 

do. 

212 

Bust  of  J.  Frazee,  .... 

Frazee. 

do. 

213 

1 Bust  of  Commodore  Perry, 

do. 

214 

Bust  of  Dr.  Benjamin  Rush,  . 

Wm.  Rush. 

do. 

215 

Bust  of  Nicholas  Biddle, 

do. 

216 

Bust  of  Judge  Marshall, 

Frazee. 

do. 

217 

Bust  of  Raphael,  (duplicate), 

do. 

218 

Bust  of  Commodore  Bainbridge, 

Wm.  Rush. 

do. 

219 

Statue  of  Mercury, 

John  of  Bologna. 

do. 

220 

Bust  of  Washington, 

Iloudon. 

do. 

221 

Bust  of  William  Strickland,  . 

Gevelot. 

do 

222 

Statue  of  Hebe,  (Goddess  of  Health), 

Modern  French. 

do. 

223! 

Bust  of  Thomas  Moore, 

do. 

224 

Bust  of  Robert  Burns.  (Presented 
by  John  Gibson), 

do. 

226 

| Bust  of  Bonaparte,  (in  early  life),  . 

do 

227 

Bust  of  J.  Q.  Adams, 

Hiram  Powers. 

do. 

228 

Bust  of  Wm.  Rush,  (cast  from  the  j 
bust  carved  out  of  a pine  tree  knot),  , 

W.  Rush. 

do. 

229 

Bust  of  Benjamin  West,  . . | 

Chantry,  R.  A. 

do. 

230 

Battle  of  the  Centaurs  and  Lapithae. 
Original  model,  (in  the  centre  of 

Rotunda),  . . . . . | 

John  Lough. 

do. 

24 


At  the  marriage  of  Pirithous , one  of  the  Lapithae,  with  Hippodamia , the  chiefs  of 
the  Lapithae  were  assembled  to  celebrate  the  nuptials.  The  Centaurs  were  also  invited 
to  the  festivity.  One  of  them,  Eurytius,  inflamed  by  wine,  resolved  to  make  the  bride 
his  prize,  and,  in  his  fury,  seized  her  by  the  hair  to  carry  her  off.  His  companions 
followed  liis  example,  and  each,  according  to  his  fancy,  fastened  upon  one  of  the  female 
attendants  of  the  bride.  The  Lapithae  instantly  resented  this  brutal  outrage,  and  the 
fight  became  general.  Many  of  the  Centaurs  were  slain,  and  the  rest  compelled  to  retreat. 

This  group,  the  work  of  Mr.  Lough,  a British  Artist,  is  truly  original,  both  in  con- 
ception and  execution.  Though  so  many  large  figures,  men  and  horses,  are  brought 
together,  the  whole  is  combined  with  an  admirable  harmony  of  design.  The  attitudes 
of  the  male  figures  exhibit  strength  and  grace,  and  the  females  the  beauty,  delicacy, 
and  alarm  of  their  sex.  Near  the  top  of  the  pyramid  the  bride  is  seen,  her  dishevelled 
hair  in  the  gripe  of  her  ravisher.  Theseus  attacks  the  Centaur  to  rescue  her,  and 
Pirithous,  on  a magnificent  horse,  with  a drawn  sword,  is  flying  to  her  assistance ; 
Hercules  is  also  seen  active  in  the  conflict.  One  of  the  Centaurs,  dressed  in  lions, 
skins,  is  thus  described  by  Ovid: — 

“ E’en  still,  methinks,  I see  Phoeocomes ; 

Strange  was  his  habit,  and  as  odd  his  dress  ; 

Six  lions’  hides,  with  thongs  together  fast, 

His  upper  part  defended  to  the  waist, 

And  when  man  ended  the  continued  vest, 

Spread  on  his  back  the  trappings  of  a beast.” 

The  Academy  formerly  possessed  a cast  of  the  colossal  statue  of  Milo  by  this  Artist, 
probably  his  finest  work,  but  it  was  destroyed  in  the  fire  of  1845. 


GALLERIES  OF  CASTS  FROM  THE  ANTIQUE,  ETC., 
IN  THE  LOWER  STORY. 


NO. 

SUBJECTS. 

ARTISTS. 

PROPRIETORS. 

231 

Dying  Gladiator,  (erroneously  so 
called),  ..... 

Antique. 

Academy. 

This  statue  is  justly  esteemed  one  of  the  very  finest  in  the  world,  most  remarkable  for 
truth  and  simplicity.  The  original  marble  is  at  Rome,  in  the  Capitol,  where  it  was 
placed  by  Pope  Clement  XII.,  previous  to  which  it  had  been  at  the  Villa  Ludovisi. 
It  is  now  considered  to  represent  a Gaul  mortally  wounded  on  the  battle-field,  which 
is  strewn  with  instruments  of  warfare.  The  false  name  will  no  doubt  alwajs  attach  to 
it,  and  Byron’s  immortal  stanza  describiug  it  under  that  appellation  will  also  remain 
an  enduring  association. 

“ I see  before  me  the  Gladiator  lie  : 

He  leans  upon  his  hand — his  manly  brow 
Consents  to  death,  but  conquers  agony, 

And  his  droop’d  head  sinks  gradually  low — 

And  through  his  side  the  last  drops  ebbing  flow 
From  the  red  gash,  fall  heavy,  one  by  one, 

Like  the  first  of  a thunder-shower;  and  now 
The  arena  swims  around  him — he  is  gone, 

Ere  ceased  the  inhuman  shout  which  hail’d 
The  wretch  who  won.” — Byron . 

L 


25 


NO. 

SUBJECTS. 

ARTISTS. 

PROPRIETORS. 

232 

Venus  of  Arles,  .... 

Antique. 

Academy. 

The  original  is  in  the  Louvre.  It 
is  said  to  be  a copy  from  that  of 
Praxiteles  which  was  in  bronze.  It 

was  found  in  the  Roman  theatre  at 
Arles,  in  France. 

233 

Antinous  of  the  Vatican, 

do. 

do. 

This  statue  is  now  known  to  represent  Mercury,  and  not  Antinous.  The  original 
is  of  Pentelic  marble  of  the  finest  quality,  and  was  found  at  Rome  on  Mount  Esqui- 
line,  near  the  hot  baths  of  Titus,  during  the  pontificate  of  Paul  III.,  who  deemed  it 
worthy  of  being  placed  in  the  Vatican  Belvidere,  near  the  Apollo  and  Laocoon. 
Nicolo  Poussin  drew  from  this  figure,  in  preference  to  all  others,  his  proportions  of 
the  human  form. 

234|  Germanicus.  . . . . . | Antique.  | Academy. 

Son  of  Drusus  and  Antonia,  niece  of  Augustus.  He  was  adopted  by  his  uncle, 
Tiberius,  and  raised  to  the  most  important  offices  of  the  State,  but  the  success  of 
Germanicus  in  the  East  was  looked  upon  with  an  envious  eye  by  Tiberius,  and  he  was 
secretly  poisoned  at  Daphne,  near  Antioch,  A.  D.  19,  in  the  34th  year  of  his  age. 
This  admirable  statue  is  no  longer  believed  to  represent  Germanicus,  for  whom  it  is 
too  old,  but  Mercury  ; except  that,  in  the  shape,  and  with  the  attributes  of  the  God 
of  Eloquence,  the  ingenious  artist  has  offered  us  the  features  of  a Roman  orator. 
The  original  is  in  the  Louvre.  It  is  attributed  to  Cleomenes,  a Grecian  sculptor, 
son  of  the  Athenian  of  that  name,  and  was  found  at  the  villa  Negroni,  near  Rome. 
It  is  of  Parian  marble. 

235|  Antinous  of  the  Capitol,  . . | Antique.  | Academy. 

Antinous  was  a beautiful  youth  for  whom  the  Roman  Emperor  Hadrian  entertained 
a strong  affection,  and  many  sculptors  were  employed  to  make  statues  of  him,  some- 
times as  Apollo,  but  more  frequently  simple  portrait  statues,  like  the  one  before  us. 
The  grace  and  modelling  of  this  figure  are  such  that  it  can  only  be  praised  in  super- 
latives ; it  is  not  only  beautiful,  but  beauty  itself,  “ Elysian  beauty,  melancholy  grace. ” 
After  having  belonged  to  the  collection  of  Cardinal  Alexander  Albani,  it  was  removed 
to  the  Museum  of  the  Capitol,  where  it  now  remains. 

236|  Dancing  Faun,  . . . : l Antique.  | Academy. 

One  of  the  rural  deities,  inhabiting  for  the  most  part  the  fields,  and  having  the 
human  figure,  but  with  pointed  ears  and  with  the  tail  of  a goat.  They  formed  always 
part  of  the  train  of  Bacchus,  together  with  the  Sylvania  and  Satyrs.  The  original  is 
in  the  Tribune  at  Florence,  and  is  regarded  as  one  of  the  most  admirable  statues  of 
antiquity.  With  his  right  foot  he  plays  on  a musical  wind  instrument  resembling  an 
accordeon.  When  found,  this  statue  was  in  fragments,  and  its  restoration  by  Michael 
Angelo  has  always  been  regarded  as  a work  of  extraordinary  skill. 

23TI  Head  and  Trunk  of  the  Venus  Milo,  | Antique.  | Academy. 


26 


NO. 


SUBJECTS. 


ARTISTS. 


PROPRIETORS. 


238 


239 


240 


241 


242 


243 

244 

245 

246 

247 


A Boy  Wrestling  with  a Goose, 

The  original  of  this,  in  Pentelic 
marble,  was  found  at  Roma  Yecchia, 
about  a league  and  a half  from  Rome, 
and  is  a duplicate  of  a bronze  men- 
tioned by  Pliny.  The  head  of  the 
boy  is  a restoration. 

Bcethus,  of  Carthage. 

Psyche,  of  Naples — a fragment. 

The  original  in  the  Museo  Borbo- 
nico  at  Naples.  It  is  the  upper  part 
of  a lovely  female  figure.  It  was 
found  in  the  Amphitheatre  of  Capua. 

Antique. 

Boy  extracting  a Thorn  from  his  Foot, 

The  original  is  in  the  Capitol  at 
Rome,  and  an  antique  duplicate  in 
bronze  is  in  the  Louvre,  and  antique 
marble  in  the  Uffizi,  Florence. 

do. 

Aristides,  ..... 

A celebrated  Athenian,  son  of  Ly- 
simachus,  whose  great  temperance 
and  virtue  procured  him  the  surname 
of  Just.  He  was  rival  to  Themisto- 
cles,  by  whose  influence  he  was  ban- 
ished for  ten  years,  484  B.  C. ; but 
before  six  years  of  his  exile  had 
elapsed  he  was  recalled  by  his  fellow 
citizens.  He  died  so  poor  that  the 
expenses  of  his  funeral  had  to  be  de- 
frayed at  the  public  charge. 

do. 

Diana  of  Gabii, 

The  original  is  in  the  Louvre  The 
goddess  is  in  the  act  of  adjusting  her 
mantle.  She  walks  along  “in  maiden 
meditation,  fancy  free.”  It  was  found 
in  the  forum  of  Hadrian  at  Gabii, 
near  Rome. 

do. 

Atlas,  ...... 

do. 

Cupid,  called  Genius  of  the  Vatican, 

do. 

Torso  of  a Dancing  Faun, 

do. 

Boy  extracting  a Thorn,  (duplicate), 
Venus  de’ Medici ; or,  Venus  Aphro- 

do. 

dite,  

Cleomenes,  of  Athens. 

Academy. 


do. 


do. 


\ 


do. 


do 


do. 

do. 

do. 

do. 

do. 


She  was  the  Goddess  of  Beauty,  Mother  of  Love,  Mistress  of  the  Graces  and  of 
Pleasures.  The  original  is  in  the  Tribune  of  the  Uffizi  at  Florence.  It  is  one  of  the 
most  perfect  statues  of  antique  sculpture,  and  all  critics  admire  its  loveliness.  The 
site  of  its  discovery  is  uncertain.  In  the  16th  century  it  adorned  the  Villa  Medici, 
at  Rome,  and  was  transferred  to  Florence  in  1680. 


27 


SUBJECTS. 


ARTISTS. 


PROPRIETORS. 


248 


Torso  of  Hercules,  (called  Michael 
Angelo’s  torso,  who  studied  this 
more  than  any  other  model,  and 
declared  that  he  derived  from  it  his 
principles  of  composition),  some- 
times called  the  Trunk  of  the  Bel- 
videre,  ..... 


Apollonius. 


Academy. 


This  inimitable  fragment  was  found  at  Rome  in  the  fifteenth  century,  near  Pom- 
pey’s  theatre,  and  was  placed  by  Julius  II.  in  the  garden  of  the  Vatican,  where  it  was 
diligently  studied  by  the  great  artists  of  his  period,  who  raised  their  profession  to  so 
elevated  a position  in  the  estimation  of  men.  No  veins  are  represented  on  the  hero’s 
body,  although  he  has  passed  his  youth — hence  Winckelmann  inferred  that  it  repre- 
sented the  Apotheosis  of  Hercules.  It  is  of  Pentelic  marble,  and  an  inscription  on 
the  rock  says  that  Apollonius,  son  of  Nestor  the  Athenian,  executed  it.  Nothing  was 
known  of  a higher  style  of  art  until  the  works  of  Phidias  (the  Elgin  marbles)  were 
brought  to  light  early  in  the  present  century. 

249 

- - J r - ...n  vw  •...  w ..  V-W  | 

Academy. 


250 


251 


Discobolus,  preparing  to  throw  the 
Quoit,  . . . 

A • 1 
Antique. 

The  young  athleta  seems  measur- 
ing with  his  eye  the  distance  to 
which  he  will  cast  the  discus.  This 
fine  figure  was  found  at  a place  called 
Colombaro,  about  three  leagues  from 
Rome,  on  the  Appian  Way,  where  it 
is  thought  the  Emperor  Gallienus 
had  a palace.  It  is  of  Pentelic  mar- 
ble, and  adorns  the  Vatican,  where  it 
was  placed  by  Pius  VI. 

Venus  Victrix,  called  Venus  of  Milo, 

do. 

The  original  is  in  the  Louvre.  It 
is  unsurpassed,  among  the  works  of 
antiquity,  for  grandeur  of  form  united 
with  feminine  beauty.  It  was  found 
in  the  island  of  Milo,  the  ancient 
Melos,  about  the  year  1822. 

Cephissus  (formerly  called  Ilissus), 
from  the  Elgin  marbles, 

Phidias. 

do. 


do. 


This  statue  and  that  of  Theseus  (No.  253)  are  among  the  very  finest  works  that 
have  come  down  to  these  times  from  the  great  sculptors  of  antiquity.  They  decorated 
the  Temple  of  Minerva  at  Athens,  and  are  undoubtedly  the  work  of  Phidias.  The 
horse’s  head  (No.  261)  is  a wonderful  production  of  the  same  master  hand.  They 
were  placed  in  the  pediment  of  the  Parthenon  four  hundred  and  forty  years  before  the 
birth  of  Christ,  and  remained  in  that  situation  until  removed  to  London  by  Lord  Elgin 
in  1808.  The  British  Government  purchased  from  him  the  whole  collection  of  frag- 
ments from  that  building  for  the  sum  of  $175,000,  an  amount  altogether  inadequate, 
considering  the  expense  attending  their  removal  and  the  actual  intrinsic  value  of  these 
works  as  models  for  the  study  of  artists. 


NO. 

SUBJECTS. 

ARTISTS. 

PROPRIETORS. 

252 

i Laocoon  and  his  Sons,  . . . | 

Agesander,  &c. 

| Academy. 

This  group  is  the  joint  production  of  three  famous  sculptors  of  ancient  Greece,  Aga- 
sander,  Polydorus,  and  Stheuodorus.  It  is  now  in  the  Belvidere  of  the  Vatican 
along  with  the  most  famous  of  the  statues  of  Apollo.  Laocoon,  Priest  of  Apollo,  was 
commissioned  by  the  Trojans  to  offer  sacrifice  to  Neptune  to  render  him  propitious 
to  their  cause.  During  the  sacrifice  two  serpents  issued  from  the  sea  and  attacked 
Laocoon’s  two  sons  who  stood  near  the  altar.  The  father  immediately  attempted  to 
defend  them,  but  the  serpents  falling  upon  him  also,  crushed  him  in  their  complicated 
folds  till  he  expired  in  the  greatest  agony.  This  group  is  the  most  powerful  in 
expression  amongst  all  the  antique  works  of  art.  It  was  found  in  the  palace  of  Titus 
at  Rome,  in  1506. 


253 

Theseus,  (from  the  Elgin  marbles),  . 

Phidias. 

254 

Apollo  Belvidere,  .... 

Antique. 

Academy. 

do. 


Son  of  Jupiter  and  Latona,  and  father  of  AEsculapius.  When  Apollo  was  grown 
up  he  went  to  Pytho  or  Delphi,  where  he  killed  the  enormous  serpent  Python,  which 
infested  the  surrounding  country.  He  here  built  a magnificent  temple,  and  Delphi 
became  celebrated  for  its  Oracle.  The  original  is  in  the  Belvidere  of  the  Vatican.  It 
is  the  work  of  a Grecian  sculptor,  and  among  the  most  celebrated  statues  of  antiquity. 
It  was  found  in  the  palace  of  Nero,  at  Antium,  not  far  from  Rome. 


255 


Fighting  Gladiator, 

The  author  of  this  well-known  mar- 
ble statue  was  Agasias,  a sculptor  of 
Ephesus,  the  son  of  Dositheus.  He 
probably  flourished  about  450  B.  C. 
The  original  statue  now  in  the  Louvre 
was  found  among  the  ruins  of  a pa- 
lace of  the  Roman  Emperors,  at  Capo 
d’Anzo,  the  Ancient  Antium.  It  re- 
presents one  of  those  Gladiators  who 
fought  upon  the  Arena  for  the  amuse- 
ment of  the  Romans. 


Agasias. 


256 


Son  of  Niobe, 


The  original  is  in  the  Uffizi  Gallery 
at  Florence.  It  is  one  of  the  figures 
of  the  group  of  Niobe  and  her  child- 
ren. He  kneels  and  looks  up,  seek- 
ing to  avert  the  anger  of  Apollo. 
The  group  was  found  beyond  the 
garte  of  S.  Giovanni  at  Rome. 


Antique. 


257 


Suppliant  Youth, 


do. 


258i  Head  and  Trunk  of  Cupid,  called  the 

Genius  of  the  Vatican,  (duplicate),  I do. 


Academy. 


do. 


do. 

do. 


29 


NO. 

SUBJECTS. 

ARTISTS. 

PROPRIETORS. 

259 

Morning  and  Evening,  . 

Michael  Angelo. 

Academy. 

Two  figures  at  the  base  of  the  monu- 
ment to  Lorenzo  de’  Medici  in  the 
sacristy  of  the  Church  of  S.  Lorenzo 
at  Florence.  Michael  Angelo  was 
born  at  Florence  in  1474,  and  died 
in  1563. 

260 

Day  and  Night,  .... 

do. 

do. 

Two  figures  forming  part  of  the 
monument  to  Giuliano  de’  Medici  in 
the  sacristy  of  the  Church  of  S.  Lo- 
renzo at  Florence. 

261 

Head  of  the  Horse  of  Night,  . 

Phidias. 

do. 

The  original  marble  of  this  wonderfully  fine  head  is  in  the  British  Museum,  among 
the  collection  of  sculptures,  by  Phidias,  brought,  by  the  Earl  of  Elgin,  from  the 
Temple  of  Minerva,  at  Athens,  and  hence  called  the  Elgin  marbles.  It  occupied  an 
angle  in  the  pediment,  and  projected  over  the  cornice,  thus  breaking  the  line  which 
might  otherwise  seem  too  rigidly  to  confine  the  composition  of  the  frontispiece.  The 
chariot  of  night  sinks  into  the  ocean  as  the  sun  rises  in  the  east.  This  head  is  esteemed 
superior  beyond  comparison  to  anything  else  of  the  kind  extant.  It  was  sculptured 
four  hundred  and  forty  years  before  Christ. 


262 

Yenus  Genetrix,  .... 

Antique. 

263 

Colossal  Feet  of  theFarnese  Hercules, 

do. 

264 

Life-sized  Anatomical  Figure, (mod’n) 

Houdon. 

265 

Cupid  Sleeping  in  a Shell,  supported 

by  Dolphins,  .... 

Modern. 

266 

Yenus  of  the  Bath, 

Antique. 

267 

Small  Crouching  Yenus,  . 

Modern. 

268 

Milo  of  Crotona,  .... 

Puget. 

Academy. 

do. 

do. 

do. 

do. 

do. 

do. 


This  cast  presents  only  a portion  of  Puget’s  statue,  as  seen  in  the  sculpture  gallery 
of  the  Louvre.  This  celebrated  athlete  was  early  accustomed  to  carry  the  greatest 
burdens,  and  became  by  degrees  a monster  of  strength.  Wonderful  stories  are  re- 
lated of  his  performances  while  in  the  flower  of  his  vigor.  But  in  the  decline  of  life 
he  undertook  to  tear  up  a large  tree  by  the  roots,  and  rend  it  into  fragments.  While 
thus  engaged,  his  strength  being  partly  exhausted,  his  hand  became  inextricably  fast- 
ened in  a cleft  of  the  wood  which  had  sprung  back  forcibly,  and  there  being  no  assist- 
ance near,  he  was  devoured  by  wild  beasts  of  the  forest. 


269 


Castor  and  Pollux, 

Twin  brothers,  sons  of  Leda,  wife 
of  Trendarus,  King  of  Sparta.  The 
brothers  cleared  the  Hellespont  and 
the  neighboring  seas  from  pirates, 
from  which  circumstance  they  have 
always  been  deemed  the  friends  of 
navigation. 


Antique. 


Academy. 


30 


NO. 


SUBJECTS. 


ARTISTS.  PROPRIETORS. 


27o|  Silenus  holding  the  Infant  Bacchus,  | Antique.  I Academy. 

Silenus,  a demigod,  who  became  the  nurse,  the  preceptor  and  attendant  of  the  God 
Bacchus.  He  was,  as  some  supposed,  the  son  of  Pan.  Malea,  in  Lesbos,  was  the 
place  of  his  birth.  After  death  he  received  divine  honors,  and  had  a Temple  in  Elis. 
Bacchus  was  son  of  Jupiter  and  Semele,  daughter  of  Cadmus.  The  original  is  in 
the  Louvre.  It  was  found  at  Rome  on  the  site  of  the  Portico  of  Octavia.  Antique 
duplicates  of  this,  as  of  many  of  the  ancient  statues,  are  met  with  in  other  collections 
of  old  marbles. 


271  The  Townley  Venus,  . . . I Antique. 

The  original  of  this  beautiful  figure  , 
adorns  the  British  Museum.  It  de-  , 
rives  its  distinguishing  name  from  its  ! 
former  owner,  whose  entire  collection  | 
of  antique  marbles  was  purchased  by 
the  British  Government  as  a nucleus  j 
of  a national  museum  of  ancient 
sculpture. 

272  Jason,  (usually  called  Cincinnatus),  do. 


Academy. 


do. 


The  original  is  in  the  Louvre  at  Paris,  is  of  Pentelic  marble,  and  was  for  some  time 
in  the  apartments  at  Versailles,  previous  to  which  it  was  at  the  Villa  Montalto  or 
Negroni.  The  left  arm,  the  hand,  and  part  of  the  right  leg  are  modern.  The  plough- 
share, feet,  sandal,  and  all  that  belong  to  the  plinth  are  antique. 

In  order  to  calm  the  suspicious  inquietude  of  his  uncle  Peleus,  King  of  Thessaly, 
this  warrior  led  a rural  life,  and  was  cultivating  his  fields,  when  a messenger  from  the 
king  came  to  invite  him  to  sacrifices  in  honor  of  Neptune.  Jason  has  just  left  his 
occupation,  which  is  indicated  by  the  ploughshare  at  his  feet;  he  is  in  the  attitude  of 
tying  his  sandal  on  his  right  foot,  but  we  see  that  he  is  listening  to  the  messenger. 
One  can  readily  surmise  that  the  other  foot  is  to  remain  bare,  and  that  the  hero  will 
show  in  his  person,  to  Peleus,  the  man  with  one  sandal  announced  by  the  oracle  as  his 
murderer.  Thus  the  figure,  although  alone,  has  all  the  charm  of  a group,  and  recalls 
to  the  mind  an  entire  history. 


273 


274 


TheKnifeGrinder,  or  Listening  Slave, 

One  of  the  five  famous  marbles  in 
the  Tribune  of  the  Uffizi,  Florence. 

Colossal  Head  of  Jupiter, 


Antique. 


Antique. 


Academy. 


do. 


This  is  the  grandest  and  most  sublime  of  all  ancient  monuments  representing  the 
image  of  the  master  of  gods  and  men.  Serenity,  mildness,  and  majesty  are  imprinted 
on  the  features  of  this  incomparable  head,  and  perfectly  express  the  idea  of  the 
epithet  mansuetus,  which  the  ancients  attribute  to  Jupiter.  This  bust,  of  the  marble 
of  Luni,  is  in  the  Vatican  Museum,  where  Pius  VI.  placed  it.  It  was  found  in  the 
ruins  of  La  Colonia  Otriculana,  now  called  Otricoli,  seventeen  leagues  from  Rome, 
on  the  Flaminian  Road.  Probably  it  is  part  of  a collossal  statue. 


31 


NO. 

SUBJECTS. 

ARTISTS. 

PROPRIETORS. 

275 

Bust  of  Menelaus, 

Antique. 

Academy. 

276 

Bust  of  a Gladiator, 

do. 

do. 

277 

Bust  of  Minerva,  .... 

do. 

do. 

278 

Bust  of  Ariadne,  .... 

do. 

do. 

The  beloved  of  Bacchus  appears  in 
all  her  beauty.  This  superb  head  of 
Pentelic  marble  is  in  the  Museum  of 
the  Capitol  at  Rome. 

279 

Bust  of  Apollo,  .... 

do. 

do. 

280 

Bust  of  Romulus,  .... 

do. 

do. 

281 

Bust  of  a Female,  .... 

do. 

do. 

282 

Half  Figure  of  Marsyas  being  flayed, 

do. 

do. 

283 

Bust  of  Castor,  .... 

do. 

do. 

284 

Bust  of  Niobe,  (the  original  at  Flo- 
rence), ..... 

do. 

do. 

285 

Bust  of  Alexander, 

do. 

do. 

The  original,  in  Pentelic  marble, 
is  now  in  the  museum  of  the  Louvre, 
and  is  the  only  authentic  likeness 
known  to  be  extant,  except  those  on 
medals.  It  was  found  at  Tivoli  (the 
ancient  Tibur)  in  1779. 

286 

Bust  of  Antisthenes, 

do. 

do. 

He  was  founder  of  the  sect  of  the 
Cynics,  by  whose  means  Melitus  was 
put  to  death  and  Anytus  banished 
for  their  persecution  of  Socrates. 

287 

Bust  of  Caracalla,  .... 

do. 

do. 

288 

Bust  of  Euripides, 

do. 

do. 

289 

Bust  of  Minerva,  .... 

do. 

do. 

290 

Bust  of  Diana,  .... 

do. 

do. 

This  cast  is  made  from  the  famous 
statue  in  the  Louvre;  acknowledged 
to  be  the  finest  of  all  the  Dianas  that 
have  been  preserved  to  modern  times. 
It  was  formerly  at  Versailles,  and  has 
been  in  France  ever  since  the  time 
of  Henry  IV. 

291 

Male  Head,  ..... 

do. 

do. 

292 

Bacchus  of  the  Vatican, 

do. 

do. 

293 

Bust  of  Achilles,  .... 

do. 

do. 

294 

Bust  of  Pollux,  .... 

do. 

do. 

32 


NO. 

SUBJECTS. 

ARTISTS. 

1 

PROPRIETORS. 

295 

Bust  of  a Laughing  Faun, 

Antique. 

Academy. 

296 

Bust  of  Genius  of  the  Vatican, 

do. 

do. 

291 

Bust  of  Xenophon, 

do. 

do. 

298 

Bust  of  Phocion,  .... 

do. 

do. 

299 

Bust  of  Augustus  Caesar, 

do. 

do. 

This  excellent  Bust,  the  best  and 
most  perfect  of  those  that  trace  the 
features  of  this  Prince,  is  of  Parian 
marble,  and  was  formerly  in  the  ca- 
binet of  the  Bevilaquo  family,  at  Ve- 
rona. It  is  now  at  Vienna. 

300 

Bust  of  Socrates,  .... 

do. 

do. 

301 

Bust  of  Son  of  Niobe,  (from  the  ori- 
ginal at  Florence), 

do. 

do. 

NORTHWEST  ROOM— LOWER  STORY. 


303 


304 


Frieze  of  the  Parthenon, 

Phidias. 

The  originals  of  these  beautiful  bas 
reliefs  are  among  the  Elgin  marbles 
in  the  British  Museum.  They  are  a 
series  of  sculptures,  designed  by  Phi- 
dias, executed  by  him  and  his  pupils, 
and  attached  along  the  upper  part 
of  the  outside  of  the  cella  of  the  Par- 
thenon under  the  colonnade.  They 
represent  the  whole  of  the  solemn 
procession  to  the  great  temple  of 
Minerva  during  the  Panathenaic  Fes- 
tival. 

The  Frieze  of  the  Temple  of  Phigalia, 

Ictinus. 

The  originals  of  these  bas  reliefs  are 
among  the  Phigalian  marbles  in  the 
British  Museum.  They  are  a series 
of  sculptures  designed  by  Ictinus,  the 
contemporary  of  Phidias,  and  carried 
along  tlie  interior  of  the  cella  of  the 
temple  of  Apollo  near  Phigalia.  They 
were  found  in  the  ruins  of  that  temple. 

Singing  School  (alto  relievo),  . 

Luca  della  Robbia. 

The  original  marble  of  this  admir- 
able group  is  in  the  Uflizi  Gallery  at 
Florence,  and  that  city  abounds  with 
works  by  him  and  his  school. 

Academy. 


do. 


do. 


33 


NO. 

SUBJECTS. 

ARTISTS. 

PROPRIETORS. 

305 

Venus  Anodyomene,  called  de’  Me-  | 
dici,  (cast  without  arms,  a duplicate)  Cleomenes. 

Academy. 

In  the  original  marble  statue  at  Florence,  as  seen  in  the  cast  in  the  adjoining  gal- 
lery, the  whole  right  arm  and  part  of  the  left  forearm  are  modern,  having  been  added 
by  a Florentine  artist  in  the  latter  end  of  the  seventeenth  century.  The  air  of  affecta- 
tion apparent  in  the  action  of  the  restored  work  is  absent  from  this  one.  The  artist 
to  whom  the  statue  is  attributed  lived  about  two  hundred  years  before  Christ — was 
the  son  of  Apollodorus,  and  father  of  that  other  Cleomenes  who  sculptured  the 
Mercury,  miscalled  Germanicus.  He  was  famous  for  his  skill  in  representing  female 
beauty,  and  Pliny  relates  that  a Roman  knight  became  enamoured  of  a statue  by  him 
of  a Thespiade  transported  from  Greece  to  Rome  by  L.  Mummius.  This  work  is  of 
Parian  marble  of  an  unusually  fine  grain.  At  a time  when  money  was  of  much  greater 
value  than  now,  Cosmo  III.,  Grand  Duke  of  Tuscany,  was  offered  one  hundred  thou- 
sand livres  for  this  statue  ; but  of  course  it  was  declined.  It  is  believed  to  have  been 
found  at  Hadrian’s  Villa,  near  Tivoli ; but  about  this  there  appears  some  uncertainty. 


306 

Head  of  Son  of  Laocoon, 

Agesander  of  Rhodes. 

Academy. 

307 

Do.  do. 

do. 

do. 

308 

Bust  of  a Girl  with  Phrygian  Cap,  . 

Antique. 

do. 

309 

Head  of  Julius  Caesar,  . 

do. 

do. 

310 

Head  of  a Muse,  .... 

do. 

do. 

311 

Passion,  a female  head,  . 

do. 

do. 

312 

Bust  of  Euripides,  (terminal  duplicate) 

do. 

do. 

3131 

Bust  of  Alcibiades, 

do. 

do. 

314 

Bust  of  Antisthenes,  (duplicate), 

do. 

do. 

315 

Bust  of  Hercules,  (middle  life), 

do. 

do. 

316 

Bust  of  Euripides, 

do. 

do. 

31T; 

Bust  of  a Cynic,  .... 

do. 

do. 

318 

Do.  (duplicate), 

do. 

do. 

3191 

Bust  of  Daughter  of  Niobe,  . 

do. 

do. 

320 

Do.  do. 

do. 

do. 

321 

Bust  of  a Vestal,  .... 

do. 

do. 

322 

Bust  of  Xenophon,  (duplicate), 

do. 

do. 

323 

Bust  of  Homer,  (the  original  in  the 
Louvre),  ..... 

do. 

do. 

324 

Bust  of  Seneca,  .... 

do. 

do. 

325 

Bust  of  Cicero,  .... 

do. 

do. 

326> 

Bust  of  Titus,  .... 

do. 

do. 

327 

Bust  of  Sappho,  .... 

do. 

do. 

328' 

Bust  of  Omphale,  .... 

do. 

do. 

3 


34 


NO. 

SUBJECTS. 

ARTISTS. 

PROPRIETORS. 

329 

Bust  of  Apollo,  (duplicate),  . 

Antique. 

Academy. 

330 

Bust  of  Junius  Brutus,  . 

do. 

do. 

331 

Bust  or  Nero,  .... 

do. 

do. 

332 

Bust  of  Diana,  (duplicate), 

do. 

do. 

333 

Small  Torso  of  a Venus, 

do. 

do. 

334 

Small  Head  of  Apollo,  . 

do. 

do. 

335 

Laughing  Faun,  .... 

do. 

do. 

336 

Bust  of  Demosthenes,  (terminal),  . 

do. 

do. 

337 

Head  of  a Muse.  .... 

do.  , 

do. 

338 

Small  Female  Torso, 

do. 

do. 

339 

Bust  of  a Muse,  .... 

do. 

do. 

340 

Bust  of  Hippocrates,  (terminal), 

do. 

do. 

341 

Bust  of  Octavia,  .... 

do. 

do. 

342 

Bust  of  a Muse,  .... 

do. 

do. 

343 

Small  Head  of  Jupiter,  . . . ! 

do. 

do. 

344 

Head  of  Daughter  of  Niobe,  . 

do. 

do. 

345! 

Head  of  Isis,  .... 

do. 

do 

346 

Mask  of  a Daughter  of  Niobe, 

do. 

do. 

347 

Mask  of  Juno,  . . . . 1 

do. 

do. 

348 

Mask  of  Silenus,  . . . . 1 

do. 

do. 

349 

Mask  of  St.  Jerome, 

do. 

350 

Mask  of  Dying  Ajax,  . . . 

Michael  Angelo. 

do. 

351 

Mask  of  Marcus  Aurelius, 

Cast  from  antique. 

do. 

352! 

Mask  of  Jupiter,  (colossal),  . 

do. 

do. 

353 

Mask  of  Dying  Alexander, 

do. 

do. 

354* 

Mask  of  Mercury,  .... 

do. 

do. 

355 

A large  Mask  of  a Female,  (unknown) 

do. 

do. 

356 

A small  Male  Torso, 

do. 

do. 

357 

Four  Legs  of  a Hound,  . 

Cast  from  nature. 

do. 

358 

Head  of  a Greyhound,  . 

do. 

do. 

359 

Female  Hand,  (spread),  . 

Cast  from  statue. 

do. 

360 

Male  Hand,  (on  scroll),  . . . j 

do. 

do. 

361 

Male  Hand,  (spread), 

Cast  from  nature. 

do. 

362 

Male  Foot,  (showing  sole), 

do. 

do. 

363 

Pair  of  Mouths,  (colossal), 

Cast  from  statue. 

do. 

364 

Pair  of  Ears,  (colossal),  . . . | 

do. 

do. 

35 


NO. 

SUBJECTS. 

ARTISTS. 

1 

PROPRIETORS. 

365 

Pair  of  Female  Hands,  (in  supplica- 

tion),  ..... 

Cast  from  statue. 

Academy. 

366 

Open  Male  Hand,  (bent  back), 

Cast  from  nature. 

do. 

367 

Open  Male  Colossal  Hand,  (bent  for- 
ward), ..... 

Cast  from  statue. 

do. 

368 

Male  Left  Hand,  (open), 

Cast  from  nature. 

do. 

369 

Female  Right  Hand,  (resting), 

Cast  from  statue. 

do. 

370 

Pairs  of  Eyes  (right  and  left)  and 
Noses, 

do. 

do. 

371 

Female  Hand  holding  a Rose, 

do. 

do. 

O! 

ir- 

CO 

Child’s  Forearm  and  Hand, 

Cast  from  nature. 

do. 

CO 

1— 

CO 

Female  Right  Hand  and  Wrist,  (not 
resting),  ..... 

Cast  from  statue. 

do. 

374 

Child’s  Foot,  .... 

| Cast  from  nature. 

do. 

375 

376 

Female  Left  Hand,  (resting),  . 
Female  Hand  with  Ruffle,  (resting 

Cast  from  statue. 

do. 

on  cushion),  .... 

do. 

do. 

377 

378 

Female  Hand,  (resting  on  block),  . 
Female  Right  Hand,  (resting  on 

do. 

do. 

palm),  ..... 

do. 

do. 

379 

Male  Left  Hand,  (resting  on  side),  . 

Cast  from  nature. 

do. 

380 

Pair  of  Male  Right  Feet,  (resting  on 

do. 

381 

toes),  ..... 

do. 

do. 

Female  Left  Foot,  .... 

Cast  from  nature. 

do. 

382 

Pair  of  Eyes, 

Cast  from  statue. 

do. 

383 

Right  Knee, 

Cast  from  nature. 

do. 

384 

Male  Right  Foot,  .... 

Cast  from  statue. 

do. 

385 

Infant’s  Foot,  .... 

Cast  from  nature. 

do. 

386! 

Pair  of  Female  Feet,  (crossed), 

Cast  from  statue. 

do. 

387 

Anatomical  Foot,  .... 

do. 

do. 

388 

Female’s  Right  Foot,  (deformed),  . 

Cast  from  nature. 

do. 

389 

Foot  of  Apollo,  .... 

Cast  from  statue. 

390 

Foot  of  Venus  de’  Medici, 

do. 

do. 

391 

Hand  clenching  Stick,  . 

Cast  from  nature. 

do. 

392 

Hand  resting  on  Fingers,  (with  band- 
ed wrist), 

Cast  from  statue. 

393 

Pair  of  Clasped  Hands,  (resting  on 
cushion), 1 

do. 

do. 

394 

Right  Hand  suspended  by  the  Wrist, 

do. 

with  scroll,  . . . . I 

do. 

do. 

k 


36 


NO. 

SUBJECTS. 

ARTISTS. 

i 

PROPRIETORS. 

395 

Pair  of  small  Female  Hands,  (left 

one  resting  on  cushion), 

Cast  from  statue. 

Academy. 

396 

Fragment  of  a Colossal  Ear,  . 

do. 

do. 

397 

Captive  Cupid,  (a  statuette),  . 

C.  A.  Fraiken. 

do. 

398 

Do.  do.  (duplicate), 

do. 

do. 

399 

Lioness, 

do. 

400 

Bull, 

do. 

401 

Cow  and  Calf, 

do. 

402 

Head — an  Egyptian  caryatide, 

Cast  from  statue. 

do. 

403 

Nine  Skulls  in  Plaster,  . 

Cast  from  nature. 

404 

John  the  Baptist  Decapitated,  (sta- 

do. 

tuette), 

Paul  Duggan. 

do. 

405 

Leg  of  a Female,  (resting  on  block), 

' Cast  from  statue. 

do. 

406 

Anatomical  Leg,  . 

Cast  from  nature. 

do. 

407 

Female  Arm  with  Hand, 

Cast  from  statue. 

408 

Yenus  and  Bird,  (statuette),  . 

C.  A.  Fraiken. 

do. 

409 

Legs  and  Head  of  Napoleon’s  Horse, 
(presented  by  T.  Sully), 

do. 

Cast  from  nature. 

do. 

410 

Head  of  a Newfoundland  Dog, 

do. 

do. 

4111 

Head  of  a Bloodhound,  . 

do. 

do. 

412 

Head  of  Innocence,  (duplicate), 

C.  A.  Fraiken. 

do. 

413 

Male  Arm,  ..... 

Cast^from  nature. 
Cast  from  statue. 

do. 

414 

Male  Hand  Pointing  with  Stick, 

do. 

415 

Male  Forearm  Grasping, 

do. 

do. 

416 

Do.  do. 

do. 

* do. 

417 

Bas-Relief,  Agriculture,  . 

Modern. 

do. 

418 

Bas-Relief,  Commerce,  . 

do. 

do. 

419 

! Bas-Relief,  Arts,  .... 

do. 

do. 

420 

| Bas-Relief,  Literature,  . 

do. 

do. 

421 

Torso — showing  Back,  . 

Cast  from  nature. 

do. 

422 

Torso — showing  Breast,  . 

do. 

do. 

423 

Flexed  Male  Arm, .... 

do. 

do. 

424 

1 Front  of  Male  Foot, 

From  nature. 

do. 

425 

j Pile  of  Books, 

do. 

do. 

426 

Bust  of  a Gentleman,  (unknown),  . 

do. 

427 

Grapes  and  Leaves, 

Cast  from  nature. 

do. 

428 

A Gymnast,  , 

Antique. 

do. 

429 

Small  Statuette  of  Pericles,  . . j 

do. 

do. 

37 


1 

NO.  | 

SUBJECTS. 

ARTISTS. 

PROPRIETORS. 

430 

Small  Statuette  of  Jupiter, 

Cast  from  the  antique. 

Academy. 

431 

Small  Bust  of  a Crying  Child, 

do. 

do. 

432 

Portrait  Bust  of  a Lady,  (unknown), 

Modern. 

do. 

433 

Small  Lioness,  .... 

Antique. 

do. 

434 

Male  Mask,  ..... 

do. 

435 

Do 

do. 

436 

Bas-Relief,  Instrumental  Music, 

Modern. 

do. 

437 

Bas-Relief,  Vocal  Music, 

do. 

do. 

438 

Bas-Relief,  Feast  of  Bacchus,  . 

Antique. 

do. 

439 

Bas-Relief,  of  a Wreath, 

do. 

do. 

440 

Bas-Relief,  Laurel  Wreath, 

do. 

do. 

441 

Bas-Relief,  Sacrificial, 

do. 

do. 

442 

Six  Bas-Reliefs  of  Pagan  Deities — 

Jupiter,  Juno,  Minerva,  Diana, 

Mars,  and  Mercury,  . 

do. 

do. 

443 

Bas-Relief  of  Charlotte  Corday, 

Modern. 

do. 

444 

Child  at  Play,  (statuette), 

do. 

do. 

445 

Cynic,  (duplicate), 

Antique. 

do. 

446 

Laughing  Faun,  (duplicate),  . 

do. 

do. 

447 

Prometheus,  ..... 

Prof.  S.  F.  B.  Morse. 

do. 

448 

Diana.  (Presented  by  Mrs.  Hopkin- 

do. 

son),  ...... 

Houdon. 

do. 

449: 

Male  Torso,  ..... 

Antique. 

do. 

450 

Do 

do. 

451 

Cupid  and  Psyche, 

Copied  from  antique. 

do. 

452 

Milo  Devoured  by  Wild  Beasts 

Prof.  S F.  B.  Morse. 

do. 

453 

Bust  of  Duke  of  Wellington,  . 

Chantry. 

do. 

454 

Bust  of  Paul  Jones, 

Wm.  Rush. 

do. 

455 

Bust  of  Dr.  Wistar, 

do. 

456 

Bust  of  Gen.  Moultrie,  . 

J.  S.  Cogdell. 

do. 

457 

Bust  of  Lord  Nelson, 

do. 

458 

Bust  of  Wm.  Darlington,  M.  D. 

do. 

459 

Bust  of  Washington, 

1 From  Canova’s  statue 

do. 

460 

Bust  of  Henry  Clay, 

do. 

461 

Bust  of  Paul  Weber, 

do. 

462 

! Bust,  (Unknown) 

do. 

463 

Do.  .... 

do. 

461 

Passion,  a Female  Head,  (duplicate). 

do. 

3* 


38 


NO. 

SUBJECTS. 

ARTISTS. 

PROPRIETORS. 

465 

Head  of  Socrates,  (mutilated), 

Cast  from  antique. 

Academy. 

466 

Head  of  Laughing  Child, 

do. 

467 

Four  Colossal  Feet  of  Hercules, 
(duplicate),  .... 

do. 

do. 

468 

Bust  of  Washington, 

W.  Rush. 

do. 

469 

Head  and  Arm  of  Venus,  (mutilated),  i 

Antique. 

do. 

4701 

Bust  of  Venus.  The  original  marble 
in  the  Pitti  Palace,  Florence, 

From  Canova’s  statue. 

do. 

471 

Two  Colossal  Hands,  (mutilated),  . 

Antique. 

do. 

472 

Anatomical  Arm,  (flexed),  . . , 

Modern. 

do. 

FRAMED  PRINTS  AND  DRAWINGS  IN  DIRECTORS’ 

ROOM. 

NOT  ON  EXHIBITION. 


473 

The  Lord’s  Supper,  (Raphael  Morg- 
hen), ' 

[ci.l 

After  Leonardo  de  Vin- 

Academy. 

474 

The  Sortie  at  Gibraltar,  (William 
Sharp),  ..... 

After  Trumbull. 

do. 

475 

Charles  Carroll  of  Carrollton, 

i 

C.  Harding. 

do. 

476 

The  Destroying  Angel,  (original  en- 
graving)  

John  Martin. 

do. 

477; 

The  Deluge,  (original  engraving),  . 

do. 

do. 

478 

Belshazzar’s  Feast,  “ 

do. 

do. 

479 

Joshua  Commanding  the  Sun  to  Stand 
Still,  (original  engraving),  . 

do. 

do. 

480 

Napoleon  le  Grand,  (A.  B.  Des- 
noyers), 

After  Gerard. 

do. 

481 

Portrait  of  Washington,  (original 
lithograph),  .... 

Rembrandt  Peale. 

do. 

482 

Madonna  della  Seggiola,  (Raphael 
Morghen),  ..... 

After  Raphael. 

do. 

483 

Jos.  Hopkinson,  late  Pres.  P.  A , 
(John  Sartain),  .... 

1 

After  T.  Sully. 

do. 

484 

Hon.  H.  D.  Gilpin,  late  Pres.  P.  A., 
(John  Sartain),  .... 

After  pho’ph  by  Ulke 

do. 

485 

Photograph  of  the  Lady  Students  of 
the  Academy  making  the  Aca- 
demy’s U.  S.  Flag, 

486, 

Bishop  White,  (by  Wagstaff),  after 
picture  

Henry  Inman. 

do. 

39 


NO. 

SUBJECTS. 

ARTISTS. 

487 

Scene  from  “Taming  of  the  Shrew, ” 

(Charles  Rolls), .... 

After  C.  R.  Leslie. 

488 

Greek  Fugitives,  (J.  Goodyear),  . ! 

After  Sir  Chas.  East- 
lake. 

489 

The  Death  of  the  Earl  of  Cha- 

tham,  (Bartolozzi), 

After  Copley. 

490 

Lot  and  his  Two  Daughters,  (Ra- 

phael Morghen),  . . . 

After  Guercino. 

491 

Faust  and  Margaret,  (daguerreotype), 

Langenheim. 

492 

Noureddin  and  the  Fair  Persian, 

(daguerreotype), 

do. 

493 

Daguerreotype  of  Steinliauser’s  Hero 
and  Leander,  .... 

494 

Architectural  Design  for  Stores  in 

Front  of  the  Academy  Building, . 

Carver  & Hall. 

495 

Lithographic  Drawing  of  the  Na- 

tional Monument  at  Washington, 

C.  Fendrick. 

496 

Greek  Fugitives,  (water  color), 

After  E.  P.  StephonofT. 

PROPRIETORS. 

Academy. 

do. 

do. 

do. 

do. 

do. 

do. 

do. 


40 


PAINTINGS  AND  SCULPTURE  ON  EXHIBITION  NOT 
THE  PROPERTY  OF  THE  ACADEMY. 


NO. 

SUBJECTS. 

ARTISTS. 

PROPRIETORS. 

497 

Life-size  Model,  Paradise  Lost, 

Jos.  Bailly. 

[Artist. 

4 98 

Life-size  Model,  The  First  Prayer,  . 

do. 

do. 

499 

Solitude,  (a  statuette),  . 

J.  L awl  or. 

Wm.  II.  Fennev. 

* 

500 

The  Freedman,  (a  statuette),  . 

J.  Q.  A.  Ward. 

Artist. 

501 

Bust  of  Gen.  Grant, 

Jos.  Bailly. 

do. 

502 

Bust  of  Clement  B.  Barclay,  (marble), 

J.  Broome. 

C.  B.  Barclay. 

503 

Bust  of  Rev.  Albert  l3arnes,  D.  D., 
(marble),  . 

S.  B.  Downing. 

Artist. 

504 

Bust  of  Bishop  Potter,  (marble), 

J.  Broome. 

do. 

505 

Bust  of  Nicholas  Biddle,  (marble),  . 

506 

Bust  of  Mrs.  Com.  Hull,  (marble),  . 

Mrs.  Com.  Hull. 

507 

Spirit  of  the  Rhine — Lurlie,  (marble), 

Sch  wan  thaler. 

Mrs.  II.  Farnum. 

508 

Girl  at  a Fountain,  (in  Bronze),  . 1 

Pradier. 

Gen.  II.  Tyndale. 

509 

Bust  of  Maria  Louisa,  (marble), 

Canova. 

J.  L.  Hodge. 

510 

Reflecting  Love,  (statue  in  marble), 

J.  II.  Haseltine. 

The  Artist. 

511 

Full  length  of  Queen  Victoria,  (the 
original  from  life), 

T.  Sully. 

[eiety. 
St.  George’s  So- 

512 

The  Holy  Family,  (the  original  in  the  , 
Louvre),  . 

After  Raphael. 

J.  II.  Powell. 

513 

Penn’s  Treaty  with  the  Indians, 

Benj.  West. 

Jos.  Harrison,  Jr. 

514 

Christ  Rejected, 

do. 

do. 

515 

The  Virgin  and  Dead  Christ,  . 

do. 

Mrs.  Seguin. 

516 

j Scene  from  Pericles,  Prince  of  Tyre,  i 

do. 

do. 

517 

Apollo  and  Hyacinthus,  . f 

do. 

do. 

518 

i 

The  Presentation  in  the  Temple, 

do. 

do. 

519 

; Prodigal  Son’s  Return,  . 

do. 

do. 

520 

i Triumph  of  Love,  .... 

do. 

do. 

521 

i Full  length  Portrait  of  Benj.  West, 

Attributed  to  G.  H. 
Harlowe. 

do. 

41 


NO. 

SUBJECTS. 

ARTISTS. 

1 

PROPRIETORS. 

522 

Carvings  in  Wood,  by  a prisoner  in 

the  Bastile,  .... 

Auber  Parent. 

E.  J.  Dutilh. 

523 

Group  of  four  Figures  in  Freestone, 

Franklin  Insti- 

illustrative of  Burns’  Tam  O’Shanter, 

James  Thom. 

tute. 

‘ Ae  market  night, 

Tam  had  got  planted  unco  right, 

Fast  by  an  ingle  bleezing  finely, 

Wi»  reaming  swats,  that  drank  divinely  ; 
And  at  his  elbow  Souter  Johnny, 

Ilis  ancient,  trusty,  drouthy  crony. 

Tara  lo’ed  him  like  a vera  brither, 

They  had  been  fou’  for  weeks  thegither. 
The  night  drave  on  wi’  sangs  an’  clatter, 
And  a’  the  ale  was  growing  better : 

The  landlady  and  Tam  grew  gracious, 
Wi’  favors  secret,  sweet,  and  precious ; 
The  souter  tauld  his  queerest  stories  ; 
The  landlord’s  laugh  was  ready  chorus ; 
The  storm  without  might  rail’  and  rustle, 
Tam  did  na  mind  the  storm  a whistle.” 


524  Bas-Relief — a Female  Head,  (marble)!  J.  Brown. 

525  Frederick  the  Great  of  Prussia  (eques- 

trian statue),  ....  Prof  Kiss. 


Mrs.  F.  Peters. 
Artist. 


9 


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